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"Moonstruck" is a lovely little film directed by superb story teller, Norman Jewison (In the Heat of the Night, Fiddler on the Roof, The Hurricane). The film is great on many levels. It shows a good slice of Italian culture, has a touching romance, and (best of all) is a hilarious comedy.<br /><br />One thing I liked most about the film was the relative unconventional looks of the actors. Nicolas Cage looks positively odd for most of the film, and Cher... well, Cher always looks a little odd.<br /><br />Overall, it's a fun film, and easy to recommend.<br /><br />7.4 out of 10
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Either or, I love the suspension of any formulaic plot in this movie. I have re-visited it many times and it always holds up. A little too stylized for some but I fancy that any opera lover will love it. Norman Jewison, a fellow Canadian, takes enormous chances with his movies and his casting and it nearly always pays off in movies that are off centre and somehow delicious, as this one is. I have often wondered at the paucity of Cher's acting roles, whether she has chosen to minimize this part of her life or she does not get enough good roles to chew on. I have found her to be a superb actress who can retreat into a role, as in this particular one or be loud and daring and fierce as in "Mask". I found the comedic strokes broad at times ( a hair salon called "Cinderella")but this was the whole intent of both the writer and director. Nicolas Page plays the angst ridden tenor of opera, all extravagant gestures, at one point demanding a knife so as to slit his own throat. The Brooklyn scenes are magical, this is a Brooklyn under moonlight, romanticized and dramatic, just like opera. All in all a very satisfying film not to everyone's taste by a long shot, I loved the ending, everyone brought together like a Greek Chorus, every part subtly nuanced and blending with the others, the camera pulling away down the hall, leaving the players talking. 8 out of 10.
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This is the kind of film for a snowy Sunday afternoon when the rest of the world can go ahead with its own business as you descend into a big arm-chair and mellow for a couple of hours. Wonderful performances from Cher and Nicolas Cage (as always) gently row the plot along. There are no rapids to cross, no dangerous waters, just a warm and witty paddle through New York life at its best. A family film in every sense and one that deserves the praise it received.
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Though Cher and Cage are the focal points of this story, Gardenia and Dukakis are good counterparts for them- this is where Loretta and Ronny will be in 50 years- still in love. The whole cast does a nice job from Aiello to John Mahoney- it shows a real slice of life. Though I saw this long ago- I am glad it finally catapulted Cage to the place where he was recognized in Hollywood for his talent. From the music to the scenes at the opera to the kitchen table arguments- this is a very entertaining movie.
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While I would say I enjoy the show, I expected something completely different from when I first saw 'What I like about you' I expected to find something along the lines of 'All That' (I am not sure if it is going on anymore) but I have to say I do like the show and while i don't classify it as a breakthrough show, it is very charming and I do like the chemistry between the characters as well (including the supporting cast)<br /><br />I would definitely say that it is great to see Wesley Jonathan back on the screen because I really loved him in City Guy. I had also seen the woman who plays Valerie's friend in Popular and while I think that was an okay show, I do not really like her character in this show because she's just not my cup of tea but she rounds it out pretty well
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What i like about you is one of those series you need to see but aren't sure you would see, the beginning is cool and its sucks you into the series just for fun, the second part i season 2-3 which are more stale, they come and go in what you want. what happens with many series is that they don't end with something special because the second part of the series always goes down into the drain, this one also somewhat did, the third part is the one to spoil and ruin the whole series, usually, but it doesn't, this ending is perfect for the series, it fits perfect, actually i was pretty angry about all these guys in Val's life, actually i wanted to end with Jeff in the end, but later on it changed, they chose to take Vic into the series after almost 3 seasons without him, and that was the biggest surprise and also what made the series go on top.<br /><br />see it many times the series is actually very cool just don't expect the second part to be that good it isn't but the third part does what was needed and made the series to one that was worth the whole thing, i am happy to say i was glad and happy about the series and now i will go over to see two guys a girl and a pizza place, when i have seen the whole series i will be back...
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The show is about two sisters living together. Holly being the younger one has some teenage problems on the other hand her sister Val has job,boy friend,fiancé problems like most of the women on the planet. They try to support each other they make mistakes sometimes but they don't give up and continue. And the show is also about friendship. The priorities in life. I loved this show so much. It is funny and the actors are so good. I am really sad that the show is over. I still watch the reruns time to time:) Amanda Bynes is very talented. Jenny Garth may be new to comedy but she plays really well. She is one of the actresses i like watching. I like Vince and Holly's relationship they are very natural. Gary is a natural talent and makes you laugh each time he shows up. With Tina Holly found a real friend and i really like them hanging out. Lauren character is so funny and she is a natural talent. I would like to see her more. This show really takes you in and makes you laugh. I wish the show hasn't been over.
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'What I Like About You' is definitely a show that I couldn't wait to see each day. Amanda Bynes is such an excellent actress and I grew up watching her show: 'The Amanda Show.' She's a very funny person and seems to be down to earth. "Holly" is such a like-able person and has an "out-there" personality. I enjoyed how she always seemed to turn things around and upside down, so she messed herself up at times. But that's what made the show so great.<br /><br />I especially loved the show when the character 'Vince' came along. Nick Zano is very HOT and funny, as well as 'Gary', Wesley Jonathan. The whole cast was great, each character had their own personality and charm. Jennie Garth, Allison Munn, and Leslie Grossman were all very interesting. I especially loved 'Lauren'; she's the best! She helped make the show extra funny and you never know what she's gonna do or say next! Overall the show is really nice but the reason I didn't give it a 10 was because there's no more new episodes and because the episodes could've been longer and more deep.
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My mom and I have just recently become addicted to this show, laughing our butts off! I've only seen about 10 episodes, and I am disappointed that I didn't pay attention to this hilarious series before they were canceled! The story line is very funny, the characters really have great personalities (or, not so great, but they're still funny!). I TiVO every episode of What I Like About You. Amanda Bynes and Jennie Garth, as well as all of the cast, never leave me bored while watching! There is some unsuitable language for children and some sexual content, but with a parental guide near, you shouldn't have too much problems. There is some sort of 'Friends' type of relationship that attracts me to this show. I really enjoy it.
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I have just started watching the TV series "What I like About You" and I must say that is a joy to watch. I always like to see new shows do well considering a lot of shows go off before you really get a feel for them. I have watched Amanda Bynes since "All That" she is truly a funny girl, what is the best about her comedy is that its so natural and what i mean about that is, its something that a person could here there best friend saying, its not rehearsed.<br /><br />I just recently started watching the show and have fell in love. I am just watching re-runs as of now but am looking forward to the next season. All the characters in the show give something to the whole story line. Its nice to see some old face from other shows I enjoyed watching in the past such as, Jennie Garth from "90210", Leslie Grossman from "Popular", and Wesley Jonathan from "City Guys." The New Character are very talented as well, Nick Zano has that charm the makes you love him even when he is doing something wrong to holly (Bynes).<br /><br />Overall this show has the right ingredients to be successful, I look forward to watching it grow.
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I love this show. I watch all the reruns every day even though I have seen all of them like 6 time s each.<br /><br />It's about two sisters, Holly (Amanda Bynes) and Val (Jennie Garth), who live in New York. Holly goes to live with Val when their dad is transferred to Japan. Val has the perfect life, she has a boyfriend and a perfect apartment of the Upper East Side.<br /><br />The show basically shows all the problems Vall and Holly go through. the main problem is guys but also is about being responsible and other life choices.<br /><br />Holly is 16 and is a total free spirit while Val is the complete opposite. She is the organized has to have a plan to do anything kind of person.<br /><br />The other characters are Henry, Vince, Gary, Lauren, and Tina.
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*What I Like About SPOILERS* Teenager Holly Tyler (Amanda Bynes) goes to live with older sister Valerie (Jennie Garth) to avoid moving to Japan with her father; but she doesn't know the half of the wacky things that will happen to her from now on, and not only to her, but to her sister, her friends Gary (Wesley Jonathan) and Tina (Alison Munn), boyfriend Henry (Michael McMillian), crush Vince (Nick Zano), Valerie's boyfriend Jeff (Simon Rex), first boss (then firefighter then husband) Vic (Dan Cortese), annoying colleague Lauren (Leslie Grossman) and second boss Peter (?) If you don't have a funny bone in your body, please skip this; if you like only veeeery sophisticated comedy this isn't for you; if you like a funny, sometimes touching show with two hot chicks who can act in the lead (and none other than the fabulous 'Mary Cherry' from Popular - Leslie Grossman - in the main cast), then what the hell are you waiting for? You're welcome to Casa De Tyler! What I Like About You (2002-2006): 8.
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Does anyone know, where I can see or download the "What I like about you" season 4 episodes in the internet? Because I would die to see them and here in Germany there won't be shown on TV. Please help me. I wanna see the season 4 episodes badly. I already have seen episode 4 and episode 18 on YouTube. But I couldn't find more episodes of season 4. Is there maybe a website where I can see the episodes? Because I've read some comments in forums from Germany and there were people which had already seen the season 4 episodes even though they haven't been shown at TV in Germany. I am happy about every information I can get. Thanks Kate
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Rosenstrasse is more an intimate film than one of epic proportions, which could have kept away many film goers looking for a Pianist similar plot. Fortunately, Von Trotta, a good screenwriter, opts for a feminist peep to an era too much illustrated on its colorful exterior, but too little analyzed in terms of intimacy and from the point of view of ordinary Aryan German rather from a Jewish standpoint. Rosentrasse finds its strength in these unsung burdens of people trapped within historical circumstances of which they emerge as victims. The pace of the film is introspective, poignantly slow, meditative. Besides, the characters are so vivid while transitions between generations and the passing of time has been deftly crafted. Rosenstrasse is not a masterpiece, and some narrative flaws are well discerned. Another fault lies on a trivial cinematography unable to capture the intensity of the internal drama lived by the characters. Nevertheless, this film is worth seeing. Finally, Rosenstrasse is part of the last trend in German films dealing with the ghosts of a nightmarish past,trend that includes such excellent films as Nowhere in Africa, and recently, the controversial Downfall. I would recommend this film to those who know how to read beyond the images.
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Berlin-born in 1942 Margarethe von Trotta was an actress and now she is a very important director and writer. She has been described, perhaps even unfairly caricatured, as a director whose commitment to bringing a woman's sensibility to the screen outweighs her artistic strengths. "Rosenstrasse," which has garnered mixed and even strange reviews (the New York Times article was one of the most negatively aggressive reviews I've ever read in that paper) is not a perfect film. It is a fine movie and a testament to a rare coalescing of successful opposition to the genocidal Nazi regime by, of all peoples, generically powerless Germans demonstrating in a Berlin street.<br /><br />Co-writer von Trotta uses the actual Rosenstrasse incident in the context of a young woman's search for information about her mother's never disclosed life as a child in the German capital during World War II.<br /><br />The husband of Ruth Weinstein (Jutta Lampe) has died and in a surprising reversion to an orthodox Jewish lifestyle apparently hitherto in long abeyance, Ruth not only "sits shivah" (the Jews' week-long mourning ritual) but she insists on following the strict proscriptions of her faith. Her apartment in New York City reflects the affluence secured by her deceased spouse's labors. Her American-born daughter, Hannah (Maria Schrader) and her brother are a bit put-off by mom's assumption of restrictive orthodox Jewish practices but they pitch in. The mother coldly rejects the presence of Hannah's fiance, a non-Jew named Luis (Fedja van Huet). A domestic crisis might well erupt as Ruth warns that she'll disown Hannah if she doesn't give up doting, handsome Luis. Stay tuned.<br /><br />A cousin arrives to pay her respects and also drops clues to an interested Hannah about a wartime mystery about mom's childhood in Berlin. Hannah is intrigued - she queries her mom who resolutely refuses to discuss that part of her life. This is very, very realistic. I grew up with parents who fled Nazi Germany just in time and I knew many children whose families, in whole but usually in part, escaped the Holocaust. Those days were simply not discussed.<br /><br />So Hannah, having learned that a German gentile woman saved Ruth's life, traipses off to Berlin hoping to find the savior still breathing. Were she not, this would have been a very short film. But Ruth, pretending to be a historian, locates 90 year-old Lena Fischer (Doris Schade), now a widow. As the happy-to-be-interviewed but shaken up by repressed memories Lena tells her story, the scenes shift fairly seamlessly between present day Berlin and the war-time capital.<br /><br />The young Lena of 1943 (Katja Riemann) was a fine pianist married to a Jewish violinist, Fabian Fischer (Martin Feifel). With the advent of the Nazi regime he was required to use "Israel" as a middle name just as Jewish women had to add "Sarah" to their names(incidentally I wish IMDb had not given Fabian's name on its characters list with the false "Israel" included-it simply perpetuates a name applied by Nazis as a mark of classification and degradation).<br /><br />While Germany deported most of its Jewish population to concentration camps, those married to "Aryans" were exempted. For a time. Until 1943 when the regime decided to take them too (most were men; a minority were Jewish women married to non-Jews). The roundup is shown here in all its frightening intensity.<br /><br />The young Lena tries to locate her husband. All she and many other women know is that they're confined in a building on Rosenstrasse. The crowd of anxious women builds up, some piteously seeking help from German officers who predictably refuse aid and also verbally abuse them ("Jew-loving whore" being one appellation). As a subplot Lena more or less adopts eight-year-old Ruth who hid when her mother was seized (remember, Ruth is now sitting shiva in Manhattan). The child Ruth is fetchingly portrayed by Svea Lohde. <br /><br />Through increasingly angry protestations the women finally prevail. The men, and a handful of women, are released. As in the real story the Nazis gave in, one of the rare, almost unprecedented times when the madmen acknowledged defeat in their homicidal agenda (another was the termination of the euthanasia campaign to rid the Reich of mental defectives and chronic invalids but that's another story).<br /><br />Von Trotta builds up the tension and each woman's story is both personal and universal. Hannah continues to prod the aging Lena who slowly, one gathers, begins to suspect she's not dealing with an ordinary historian but rather someone with a need to learn about the girl she rescued, the child whose mother was murdered.<br /><br />The contrasts between Rosenstrasse of 1943, a set, and the street today in a bustling, rebuilt, unified Berlin provide a recurring thematic element. Today's Berlin bears the heritage but not the scars of a monstrous past. Von Trotta makes that point very well.<br /><br />The main actors are uniformly impressive. Lena's husband while strong is also shown as totally helpless in the snare of confinement with a likely outlook of deportation (which is shown to have been clearly understood by all characters - including the local police and military - as a one-way trip to oblivion). The older Ruth is catalytically forced to confront demons long suppressed in her happy New York life. Hannah is very believable as a young woman whose father's death triggers a need to discover her family's past. These things happen (although the Times's critic appears not to know that).<br /><br />Von Trotta's hand is sure but not perfect. A scene with Goebbels at a soiree enjoying Lena's violin playing is unnecessary and distractive. The suggestion that she may have gone to bed with the propaganda minister, the most fanatical top-level Hitler worshiper, to save her husband detracts from the wondrous accomplishment of the demonstrating spouses and relatives. Most of the German officers come from central casting and are molded by the Erich von Stroheim "copy and paste" school of Teutonic nastiness. But that's understandable.<br /><br />The Rosenstrasse story has been the subject of books and articles and some claim it's a paradigm case for arguing that many more Jews could have been saved had more Germans protested. Unfortunately that argument is nonsense. The German women who occupied Rosenstrasse were deeply and understandably self-interested. Most Germans were located on a line somewhere between passive and virulent anti-Semitism. THAT'S why the Rosenstrasse protest was virtually singular. Whether one buys or rejects the Goldenhagen thesis that most Germans were willing accomplices of the actual murderers it just can not be denied that pre-Nazi endemic anti-Semitism erupted into a virulent strain from 1933 on.<br /><br />The elderly Lena remarks that what was accomplished by the women was "a ray of light" in an evil time. Most of the men and women sprung from a near death trip survived the war. So "a ray of light" it was and von Trotta's movie is a beacon of illumination showing that some were saved by the courage of largely ordinary women and for every life saved an occasion for celebration exists. And always will.<br /><br />9/10
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In Rosenstrasse, Margarethe von Trotta blends two stories to create a vibrant tapestry of love and courage. The film depicts a family drama of estrangement between a mother and her daughter, and the story of German women who staged a protest on Rosenstrasse to free their Jewish husbands from certain extermination. In addition to the dramatization of historical events, the focus of the film is on the saving of a child from the Holocaust by a German and the result of the child's experience of losing her mother. While Ms. von Trotta shows that the courage of a small number of Germans made a difference, she does not use it to excuse German society. Indeed, she shows how in the midst of torture and extermination, the wealthy artists and intellectuals of German high society went on about their lives and parties, oblivious to the suffering.<br /><br />Rosenstrasse opens in New York as a Jewish widow Ruth Weinstein (Jutta Lampe) decides to sit Shiva, a seven-day period of mourning that takes place following a funeral in which Jewish family members devote full attention to remembering and mourning the deceased. When her daughter Hannah (Maria Schrader), is forbidden to receive phone calls from her fiancé Luis (Fedja van Huet), a non-Jew, Hannah questions why her mother has suddenly decided to follow an Orthodox tradition that she previously rejected. When Ruth coldly rejects her cousin, Hannah questions her and learns about a woman named Lena who took Ruth in as a child when the latter's mother was deported and murdered by the Nazis, and she vows to find Lena and discover the secret of her mother's past.<br /><br />Her quest takes her to Berlin where she finds Lena (Doris Schade), now ninety years old, and interviews her on the pretext that she is a journalist researching certain aspects of the Holocaust. With unfailing memory, Lena tells her story of how, as a young 33-year old woman (Katja Reimann), she searched for her husband, Jewish pianist Fabian Israel Fischer (Martin Feifel), who disappeared and was presumed to have been imprisoned despite the protection normally given Jews in mixed marriages. Lena, in a radiant performance by Reimann, discovers that her husband and other Jews are being held prisoner in a former factory on the Rosenstrasse.<br /><br />Standing together in the freezing night, German women whose husband are missing congregate outside the building, their numbers growing daily until they reach one thousand shouting "Give us back our husbands". Lena finds Ruth (Svea Lohde), a young girl whose mother is in the building. She takes care of her, protecting her from the Gestapo and raising her after her mother is killed. Lena comes from an aristocratic German family and her brother, recently returned from Stalingrad, is a Wehrmacht officer. After being refused help from her father to free Fabian she enlists the aid of her brother who tells a fellow Officer, "I know what they do to the Jews. I saw it". Given his support, she is bold enough to bypass channels and go to the top where her beauty and charm prove irresistible for the Minister of Culture, Joseph Goebbels, a known womanizer. While this fictional part of the film has been criticized as degrading to the women protesters, it is a historical fact that Goebbels was very active in making the decisions affecting Rosenstrasse.<br /><br />The director Margarethe von Trotta, an activist, feminist, and intellectual, is no stranger to political drama. She directed a film about Socialist Rosa Luxembourg and Marianne and Julianne, a story of the relationship between two sisters, one of whom resorts to political violence to accomplish her liberal objectives. In Rosenstrasse, a film she worked on for eight years, she had to make compromises, adding the present day fictional element in order to have her film produced. That it works so well is a tribute to Ms. von Trotta's artistry and the beautiful screenplay by Pamela Katz whose father was a refugee from Leipzig. The events at Rosenstrasse give the lie to Germans, who say, "there was nothing we could do". Now von Trotta has shown the opposite to be true, that something could be done to resist the Nazis. It is tragic that the example did not catch on.
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I'm always surprised about how many times you'll see something about World War 2 on the German national television. You would think they don't like to open old wounds, but there isn't a week that goes by without a documentary or a movie about the horror and atrocities of this war. Perhaps it's a way of dealing with their past, I don't know, but you sure can't blame them of ignoring what happened. And it has to be said: most of those documentaries are really worth a watch because they never try to gloss over the truth and the same can be said about their movies (think for instance about "Der Untergang" or "The Downfall" as you might now it) which are also very realistic.<br /><br />One of those movies is "Rosenstrasse". It tells a true story and deals with the subject of the mixed marriages during the war, even though the movie starts with a family in the USA, at the present day. After Hannah's father died, her mother all a sudden turned into an orthodox Jew even though she hasn't been very religious before. She doesn't know where the strange behavior of her mother comes from, but as she starts digging in her mother's troubled childhood, Hannah understands how little she has ever known about her mother's past.<br /><br />The fact that this movie deals with the subject of the mixed marriages during the Nazi regime is already quite surprising. For as far as I know, there hasn't been another movie that deals with this subject. (For those who didn't know this yet: Being married to a so-called pure Aryian man or woman meant for many Jews that they weren't immediately sent to one of the concentration camps, but that they had to work in a factory). But it does not only tell something about the problems of the mixed marriages, it also gives a good idea of how these people were often seen by their own parents and relatives. How difficult it sometimes was for them during the Nazi regime and how these people, most of the time women, did everything within their power to free their men, once they were captured and locked away in for instance the Rosenstrasse...<br /><br />The acting is really good and the story is very well written, although the way it was presented in the beginning didn't really do it for me (and that's exactly the only part that you'll get to see in the trailer). Perhaps it's just me, but I would have left out a big part of what happens in the present day. At least of the part that is situated in the USA, because the part where Hannah goes to Berlin and talks to someone who knows more about her mother's past, definitely works.<br /><br />If you are interested in everything that has something to do with the Second World War, and if you aren't necessarily looking for a lot of action shots, than this is definitely a movie you should see. This isn't a movie in which you'll see any battles or gunfights, but it certainly is an interesting movie, because it gives you an idea about an aspect of the war only little is known of. I give it an 8/10.
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Another small piece of the vast picture puzzle of the Holocaust is turned face up in this docudrama about the Rosenstrasse Protest in Berlin, an event I had not known of, that began in late February, 1943. The details are given in an addendum that follows this review.<br /><br />The film narrative sets the story of this protest within another, contemporary story that begins in New York City, in the present. Here a well off, non-observant Jewish woman, whose husband has just died, shocks her children and others by insisting on an extremely orthodox mourning ritual. She goes even further, demanding that her daughter's non-Jewish fiancé leave the house.<br /><br />The distressed daughter, Hannah (Maria Schrader) then learns for the first time from an older cousin that during WWII, in Berlin, her mother, then 8 years old, had been taken in and protected by an Aryan woman. Hannah drops everything, goes to Berlin, and finds this woman, Lena Fischer, now 90. Hannah easily persuades the woman to tell her story. It all seems rather too pat.<br /><br />The film thereafter improves, focusing through long flashbacks primarily on the events of 1943 that surrounded the protest, in which the fictitious central character is the same Mrs. Fischer at 33 (played magnificently by Katja Riemann), a Baroness and accomplished pianist who is married to Fabian (Martin Feifel), a Jewish concert violinist, one of the men detained at the Rosenstrasse site.<br /><br />The narrative does briefly weave back to the present from time to time and also ends in New York City once again. While scenes in the present are color saturated, the 1943 scenes are washed out, strong on blue-gray tones.<br /><br />The quality of acting is generally quite good, what we might expect given the deep reservoir of talent in Germany and the direction of Margarethe von Trotta, New German Cinema's most prominent female filmmaker, herself a former actress.<br /><br />The story of the protest is told simply. Only one feature is lacking that would have helped: still-text notes at the end indicating the eventual outcome for those people taken into custody at Rosenstrasse, an outcome that was, as the addendum below makes clear, incredibly positive.<br /><br />"Rosenstrasse" has not fared well in the opinions of most film critics. Overly long, needlessly layered, purveyor of gender stereotypes, manipulative with music: so go the usual raps. It is too long. But I found in this film an austere, powerful, spontaneous and entirely convincing voice of protest from the women who kept the vigil outside the place on Rosenstrasse where their Jewish relatives and others were detained. I found nothing flashy, contemporary or manipulative in this depiction.<br /><br />The very absence of extreme violence (no one is shot or otherwise physically brutalized) intensified my tension, which increased incrementally as the film progressed. You keep waiting for some vicious attack to begin any minute. The somberness of the film stayed with me afterward. I awoke often later in the night I saw the film, my mind filled with bleak, melancholic, chaotic images and feelings conjured by the film. For me, that happens rarely. (In German and English). My rating: 8/10 (B+). (Seen on 05/31/05). If you'd like to read more of my reviews, send me a message for directions to my websites.<br /><br />Add: The Rosenstrasse Protest: Swept up from their forced labor jobs in what was meant to be the Final Roundup in the national capital, 1700 to 2000 Jews, mostly men married to non-Jewish women, were herded into Rosenstrasse 2-4, a welfare office for the Jewish community in central Berlin.<br /><br />Because these Jews had German relatives, many of them highly connected, Adolf Eichmann hoped that segregating them from other prisoners would convince family members that their loved ones were being sent to labor camps rather than to more ominous destinations in occupied Poland.<br /><br />Normally, those arrested remained in custody for only two days before being loaded onto trains bound for the East. But before deportation of prisoners could occur in this case, wives and other relatives got wind of what was happening and appeared at the Rosenstrasse address, first in ones and twos, and then in ever-growing numbers.<br /><br />Perhaps as many as six thousand participated in the protest, although not all at the same time. Women demanded back their husbands, day after day, for a week. Unarmed, unorganized, and leaderless, they faced down the most brutal forces at the disposal of the Third Reich.<br /><br />Joseph Goebbels, the Gauleiter (governor or district leader) of Berlin, anxious to have that city racially cleansed, was also in charge of the nation's public morale. On both counts he was worried about the possible repercussions of the women's actions. Rather than inviting more open dissent by shooting the women down in the streets and fearful of jeopardizing the secrecy of the "Final Solution," Goebbels with Hitler's concurrence released the Rosenstrasse prisoners and even ordered the return of twenty-five of them who already had been sent to Auschwitz! <br /><br />To both Hitler and Goebbels, the decision was a mere postponement of the inevitable. But they were mistaken. Almost all of those released from Rosenstrasse survived the war. The women won an astonishing victory over the forces of destruction. (Adapted from an article posted at the University of South Florida website, "A Teacher's Guide to the Holocaust.")
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Goebbels motivation in backing down was not explored. In the aftermath of Stalingrad the Reich had decided to go for 'total war'. This is referred to in the film. Part of this was to use women in the war effort, which Germany had not previously done to any great extent. An SS massacre of women would have faced Goebbels with a public relations disaster of massive proportion. His preference was to make the problem go away as quietly as possible, on the basis that the Jewish men could always be rounded up later. I understand the majority survived the war.<br /><br />His other problem was that the 'Red' Berlin had never been very enthusiastically behind the Nazi cause and had to be handled cautiously. Again a massacre of women could have cost the Nazis what mediocre level of support they had in their capital city.<br /><br />It was interesting that the majority of SS uniforms showed patches which indicated that the men wearing them were not of German nationality, but were from German origins in other countries such as Lithuania or Latvia
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This isn't another searing look at the Holocaust but rather an intimate story about the events that took place on a small street in Berlin and some of the people that were involved. This film starts in the present time in New York City where Ruth Weinstein (Jutta Lampe) is in mourning over the death of her husband and family members have all gathered to her side. Ruth's daughter Hannah (Maria Schrader) slowly learns that her mother was raised by an Aryan woman named Lena Fischer (Doris Schade) and so she travels to Germany and locates the 90 year old who tells her about the events on Rosenstrasse.<br /><br />*****SPOILER ALERT*****<br /><br />Lena talks about Berlin in 1943 where the Gestapo would hold all the Jewish spouses in a building on Rosenstrasse Street even though they are supposed to have immunity for being married to Aryans and for nine days a group of women would wait outside and shout for their release. Eight year old Ruth (Svea Lohde) awaits for her mother to come out and has nowhere to go but she meets 33 year old Lena (Katja Riemann) who takes her in. Lena's husband Fabian (Martin Feifel) is also inside and eventually she tries to socialize with Nazi Officers to get them to do something.<br /><br />This film is directed by Margarethe von Trotta who is making her first feature film in almost 10 years after working in television and while this is clearly not one of her more provocative efforts she remains one of the most revered directors in Europe. This is not one of those Nazi films where we view horrible acts of inhumanity to Jews although we do see some severe treatment being issued out but instead this is more of a retelling of a small event that meant life and death to the people involved. This film isn't trying to shock anyone or open the door to debates on the circumstances but what it simply wants to do is just shed a light on a small but true life event that occurred during an historical period. Part of the films strength comes from its actors and there are some good performances that shine through especially by Riemann and young Lohde and it's always good to see Schrader (Aimee & Jaguar) in a pivotal role. This isn't a great film or something that's going to change your perspective on WWII but considering that innocent lives were put to death because of the events that took place I think that reason alone is important enough to retell this true story.
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I saw this film at the Toronto Film Festival, where it received a standing ovation! This film tells a story that to my knowledge has never been told before--namely about the Rosenstrasse (a street in Berlin)uprising of German gentile women who were married to Jews at the end of the Second World War. As such, it is a unique story, and what's more, is the only film about the Holocaust that I have ever seen that shows that there were GOOD Germans (the helping family in "Anne Frank" for instance was Dutch) who did NOT support the Nazis, and, in fact, had the fortitude to stand up against their own country's immorality and brutality during the Nazi regime, at the risk of their very lives. The acting is great across the board, the framing story in New York interesting and intricate, the direction from Von Trotta masterful in every scene, and the production values, including the gorgeous cinematography, outstanding. Of course the family in New York could be speaking German. Many immigrants in this country choose to speak in their native tongue with their family--a common occurrence. So that criticism is unwarranted. To say more would spoil the experience. The film is long, but I did not look at my watch once. I am hoping this film gets some distribution is North America, for not only is this film a masterpiece, but it can actually help heal any animosity people have towards the Germans because of their support of Hitler. If this film is playing in your area, I URGE YOU TO SEE IT! You will be glad you did!
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Rosenstrasse is a touching story of courage in adversity. Reichdeutch women find that their Jewish Husbands have been locked up pending deportation. One an aristocrat disowned by her family, Lena Fischer, finds herself among the mob as does General Gudarian's sister. But rank and privilege merit no special consideration. <br /><br />Nor does service to the Reich as a female detainee whose husband is on the Ostfront will learn. In one of the most horrifying scenes of the movie, the guards take the wedding band given by her soldier husband. <br /><br />Lest you think this is typical German brutishness we in America today have Lady Bush imperiously ordering the arrest of Gold Star Mothers (mothers of US service-members killed in action) because their very presence is offencive. Little, regrettably, has changed in the 60 years from Der Fuher to Der Fumbler.<br /><br />Fortunately the eight year old daughter Ruth escapes capture.<br /><br />Waiting in the cold on Rosenstrasse Lena Fischer is at first reluctant to take in Ruth responding in a way that we take as typically German. Even Lena Fisher's brother Colonel Arthur von Eschenbach who is aware of and opposed to the Holocost cautions Lena against it. but Lena chooses to embrace the idea with an American rebelliousness even renaming Ruth, the more aryan sounding name Helga Lehmann.<br /><br />The siege ends favourably on Rosenstrasse but Lena mourns: What happened to Ruth after the war? Years later Ruth's daughter Hannah sets out in search of her mother's past and meets 90 year old Lena under the guise of writing a personal history of the war.<br /><br />I did deem it interesting that Hannah wanted so much to look up the family but never checked on the fate of her grandfather last known to have served on the Ostfront.
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SPOILERS WITHIN.<br /><br />It appears that von Trotta was a lot more at ease with what the balance of personal story versus history of the events than she was in her earlier film Versprechen, Das (1995).<br /><br />The direction seemed carefully controlled, and visually I felt it was highly appealing - especially where the visual narrative was concerned (the title-sequence blend and the lighting of a new candle in modern times commemorating the deaths of various characters in the past).<br /><br />To clarify two points that many people have been confused by:<br /><br />Firstly, Lena did not sleep with Goebbels. Although this may have seemed implied, it was not the intent. Von Trotta told me so herself! (And she is a very nice lady, by the way!)<br /><br />Secondly, the time-frame of events was in fact historically accurate (the actual dates are shown on the close-up of the memorial) and the prisoners were released as suddenly as in the film. There is evidence showing that Goebbels was annoyed about having done this, and had planned to eventually recapture those he had set free.<br /><br />Overall, what most impressed me most was that it was an original story from a much 'over-movied' era. It seems a shame that it has taken such a long time (for various reasons) for this film to hit our screens.<br /><br />More of the same please, Margarethe!
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This was a wonderful film. How these women tried to save their husbands. I thought that the performances of the actors were great. I had to think about the film for a very long time. I think that every student should see this film so that they can think about war, relationships, friendship and love. I liked the film because it told and showed me how strong love can be. I wish I could be so strong as a woman. I really liked it because it told me something about relationships and that is what I like to see in a movie. I think you can compare the film with Der Untergang, The pianist. If you put these three films together, you have a great sight of what happened during the war. We should remember something like the war forever.
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positive
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The van trotta movie rosenstrasse is the best movie i have seen in years. i am actually not really interested in films with historical background but with this she won my interest for that time!!<br /><br />the only annoying thing about the movie have been the scenes in new york, and the impression i had of "trying to be as American as possible" ... which i think has absolutely failed.<br /><br />the scenes in the back really got to my heart. the German actress katja riemann completely deserved her award. she is one of the most impressing actress i have ever seen. in future i will watch more of her movies. great luck for me that i am a native German speaking =) and only for a year in the us, so as soon as i am back i'll buy some riemann dvds.<br /><br />so to all out there who have not seen this movie yet: WATCH IT!!! i think it would be too long to describe what it is all about yet, especially all the flash backs and switches of times are hard to explain, but simply watcxh it, you will be zesty!!!!!!!
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Although the beginning of the movie in New York takes too long, the movie is a must see for people who like this genre. When Hannah goes to Berlin to visit the older woman who helped her mother during the war, the movie gets much much better.The movie is a bit like The Pianist, can not really be compared.
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Here is the explanation screenwriter Pamela Katz gave me for why MvT introduced JG as a specific character in the film:<br /><br />"...the historical record is very clear: Joseph Goebbels was directly responsible for the release of the Rosenstrasse prisoners, so we needed a way to get Goebbels himself into our film... For a woman like Lena, a woman from an aristocratic family with connections, it wasn't unthinkable that she would make an attempt to go to the top. The idea of getting to Goebbels wasn't impossible for her, so that became our hook."<br /><br />Those of you who insist on seeing an actual sex act here can read my new thread below & then fire away.<br /><br />Jan Lisa Huttner FILMS FOR TWO
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When reading a review from another user, saying that it's a terrible game, I could not stand idle and do nothing!<br /><br />Well, this game is great, from the news clips (with two real persons, full of humour sense and credibility!), to the story, I find it very good! I only complain about the enemies start blinking when they die, until they disappear; and some frustrating situations on the LEILA VR missions, when riding the bike, here and there...<br /><br />Except that, it's a great game, with a great story, good graphics, excellent characters, great soundtrack... I recommend it! Surely! It can be a bit old, but still enjoyable! At least, on the Dreamcast... but the PS2 version shall be the same.
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Not since Spongebob Squarepants have i seen a greater cartoon on TV. The colors are great, the voices could't be better, the characters are so original, great great cartoon. Hope Nickolodean continues to develop this cartoon. Hope the Season DVD comes out soon!!! I love cartoons like this and I hope more people tune in to se this great cartoon. It is very hard to find the Season DVD, so if somebody finds a store that is selling it please let me Know. The only Catscratch merchandise available on Nick Shop is a great lookin shirt, but very very very expensive!!! If you love Spongebob; and who doesn''t?; you'll love Catscratch too!
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OK, here is my personal list of top Nicktoons shows as in today:<br /><br />1. All Grown Up/SpongeBob SquarePants<br /><br />2. My Life as a Teenage Robot<br /><br />3. Invader Zim<br /><br />4. CATSCRATCH/Rugrats<br /><br />Notice a word with only capital letters? That means this is the Nick show I'm going to talk about.<br /><br />"Catscratch" is basically a simple but great animated comedy about three wealthy cats - Mr. Blik, Gordon, and Waffles - who get into weird and REALLY surreal situations, from attempting to join Human Kimberely's slumber party for root beer to saving a planet of slugs from the evil spaceship. This is one Nick show that you will simply have your funny bone tickled sooner or later! The theme song is catchy and memorable. Voice actors - including Wayne Knight from the "Seinfield" franchise - brings the characters to fresh life with very quirky personalities. The stories are enjoyable (fans' episodes would be "King of All Root Beer" and "Gordon's Lucky Claw"). And the humor is all done in some style of Earthworm Jim. <br /><br />So in conclusion, "Catscratch" is one of the Nicktoons series, like "Invader Zim" and "MLAATR", which becomes very, very popular all over the world in just 3 seasons or less.
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I love this show! Mr. Blick, Gordon, and Waffle are cats so different from each other, yet they refer to themselves collectively as 'brothers.' I often find myself trying to imitate the tired, sighing accent of their butler, Hovis, or even the Scottish borough of Gordon. There should be more episodes made about Human Kimberly. The episode about the cats disguising themselves as pre-teen girls to gain admittance to Human Kimberly's slumber party in order to get their thirsty paws on their favorite drink, Rootbeer, is a hilarious classic. We can't drink rootbeer in our house now without either doing the Catscratch voices or the Hanson Brothers from the movie 'Slap Shot.' Future classic. Where can I get the first two seasons on DVD??
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Catscratch is the best thing to come out of Nickeloden, including Wayne Knight. This show doesn't just appeal to Maoris and PI's. some people love it, and they're all aussies. At first glimpse I admit it seems a little crude, but it grows enormously on you. Also, to correct something that one of the other critics has said In_Correct (Tv.com) doesn't say "Does that mean you're homo now?" he says "Does that mean you're homo, owww?" This is his phrase in the show. Mr. Blik is, i think,the funniest of all like Peww-Weww's Playhouse<br /><br />Firstly, I'll admit that the early episode were a bit good. But after a while the episodes became great! And just when the series had found it's surreal, whacky ...Nickelodeon cancels it!<br /><br />I know Nick is meant for kids, but every once in a while a brilliant show appears that can be enjoyed by teenagers and adults. These shows include Mr. Bean the Animated Series, Charlie Brown, Pelswick, Rocko's Modern Life (at times), and Invader Zim. All of these must have been considered too good, with the exception of CatDog, 'cause Nick felt the need to cancel them.<br /><br />What I like the famous final episode, where Gordon fight a duck.<br /><br />I'd also like to see a DVD, with plenty of audio-commentaries and behind-the-scenes docos, and including the final episode.<br /><br />But of course, what I'd definitely like to see is the show come back on the air. Wake up NICK!<br /><br />I wish there was a list somewhere on the internet with all the gag closing-credits. That would be great.
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It's not too bad a b movie, with Sanders, Barrie, Hale, Cowen, Hamilton, Gargan, Fitzgerald and even Willie Best we could be either with Charlie Chan, Moto, the Falcon, Blackie, Holmes or the Saint etc. In other words you get the chance to spend another hour in the company of some old friends, from plain to urbane, murdering and being murdered - always a pleasure in my book.<br /><br />Barrie's a hard-boiled dame out to avenge and clear her framed and dead father, a police detective by planning and carrying out with her coterie a string of underworld assassinations. Which would surely have had the opposite effect! Sanders joins in the fun simply by dancing in the right club in the right place in the right city at the right time with the right lighting falling on both him and the first killer (at the right time!) and killing him.<br /><br />The story and acting's OK, the only gripe I've got is near the end with the hurried and almost laughable discovery of who the evil genius (Waldeman) was - did they almost forget about his relevance in the plot? That said, a solid entry in the series.
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Leslie Charteris' series of novels of the adventures of the slightly shady Simon Templar ("The Saint") was brought to the screen in the late 1930s with the up and coming George Sanders as Templar. It was a careful choice - Sanders usually would play villains with occasional "nice roles" (ffoliott in FOREIGN CORRESPONDENCE, the title hero in THE STRANGE CASE OF UNCLE HARRY, the framed "best friend" of Robert Montgomery in RAGE IN HEAVEN). Here his willingness to bend the rules and break a law briefly fit his "heavy persona", while his good looks and suave behavior made Templar a fit shady hero like Chester Morris' "Boston Blackie", and (to an extent) Peter Lorre's "Mr. Moto". <br /><br />The films are not the best series of movie mystery serials - but they are serviceable. Like Rathbone's Holmes series or Oland's Chan's series the show frequently had actors repeating roles or playing new ones (the anti-heroine in the film here was played by Wendy Barrie, who would show up in a second film in the series). This, and slightly familiar movie sets make the series a comfortable experience for the viewers, who hear the buzz of the dialog (always showing Sanders' braininess in keeping one step ahead of the bad guys), without noting the obvious defects of the plot. All these mysteries have defects due to the fact that even the best writers of the genre can't avoid repeating old ideas again and again and again.<br /><br />Here the moment when that happened was when one of the cast admitted his affection for Barrie, which she was long aware of. Shortly after he tries to protect her from the police. But as the film dealt with the identity of a criminal mastermind, it became obvious that this person was made so slightly noble as to merit being the mysterious mastermind (i.e., the script disguised him as the least likely suspect).<br /><br />Barrie is after the proof that her father (who died in prison) was framed by the real criminals in a robbery gang. She has several people assisting her - mugs like William Gargan - and she gets advice from the mastermind on planning embarrassing burglaries that can't be pinned on her. The D.A. who got her father convicted (Jerome Cowan) is determined to get Barrie and her gang. The only detective who seems to have a chance to solve the case is Jonathan Hale, who is shadowing Sanders but reluctantly working with him. <br /><br />The cast has some nice moments in the script - Hale (currently on a special diet) is tempted to eat a rich lobster dinner made for Sanders by Willie Best. He gets a serious upset stomach as a result, enabling Sanders and Barrie to flee Sanders' apartment. Best has to remind him (when he feels better) to head for a location that Sanders told him to go to at a certain time.<br /><br />There is also an interesting role for Gilbert Emery. Usually playing decent people (like the brow-beaten husband in BETWEEN TWO WORLDS) he plays a socially prominent weakling here - whose demise is reminiscent of that of a character in a Bogart movie.<br /><br />On the whole a well made film for the second half of a movie house billing in 1939. It will entertain you even if it does not remain in your memory.
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I've just seen The Saint Strikes Back for the first time and found it quite good. This was George Sanders's first appearance as the Saint, where he replaces Louis Hayward.<br /><br />In this one, the Saint is sent to San Francisco to investigate a shooting at a night club. With the help of his acquaintance Inspector Fernack who has come down from New York, they help a daughter of a crime boss.<br /><br />Joining Sanders in the cast are Wendy Barrie and Jonathan Hale.<br /><br />Not a bad Saint movie. Worth seeing.<br /><br />Rating: 3 stars out of 5.
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positive
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Chloe is mysteriously saved from Dr. Caselli, the corrupt doctor responsible for transferring patients with abilities from Belle Reve to Project 33.1, and a fraction of second later Clark arrives. He finds that Bart Allan has returned to Smallville and they meet each other in Kent Farm. When Bart is captured by Lex during a break-in in a LuthorCorp's facility, Clark discovers that the Green Arrow had also hired Bart (a.k.a. Impulse), Arthur Curry (Aquaman) and Victor Stone (Cyborg) to investigate the Project 33.1. Clark accepts to join the trio to save Bart and invites Chloe to participate of their mission.<br /><br />"Justice" is the best episode so far of this 6th Season. In this episode, the Justice League begins its saga with the association of five heroes: Clark, Green Arrow, The Flash ("Impulse"), Aquaman and Cyborg. The participation of Chloe is spectacular, completing the necessary organization to the teamwork. In the end, Oliver breaks up with Lois based on the importance of fighting against criminals and Lex's secret laboratories around the world. My vote is ten.<br /><br />Title (Brazil): "Justiça" ("Justice")
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I loved this episode. It is so great that all 5 of them team up and stop LutherCorp and save the world. I also love this episode because Kyle Gallner (Bart Allen/Impulse) and Justin Hartley (Oliver Queen/Green Arrow) are guest starring in it!!! I just hope that Clark will join the Justice League and we'll get to follow this group of heroes across the globe!! =)It was really exciting and keeps viewers interested because of what will happen next. I think Chloe should also join the team as Watchtower, that would be such a coool thing for her to do besides the Daily Planet because she doesn't have super powers. Also, I want to find out what types of subjects Lex is going to use for 33.1, I wonder what other types of powers other people in the world have!!!
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Show favorites Green Arrow (introduced this season), Aquaman (introduced in Season 5), "Impulse" (Season 4), and Cyborg (Season 5) all come together, along with Clark, to stop one of Lex's evil plans in this thrilling mid-season episode.<br /><br />Through his sophisticated technology, Green Arrow learns that Lex Luthor is constructing laboratories across the world that hold people induced by the meteor substance kryptonite and people with abilities to run tests on. Green Arrow over the past months has allied Arthur Curry (Aqua), Bart Allen (Impulse) and Victor Stone (Cyborg) to stop Lex and destroy these facilities. After recruiting Clark to help, the team puts on quite a show in interrogating and destroying a local laboratory.<br /><br />This episode is incredible. Full of action, humor, and fabulous dialog, it feels more like a movie. It is full of entertainment and provides as a springboard for the most interesting storyline of the sixth season.
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positive
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I really enjoyed this episode. Seeing The Flash, Cyborg, Green Arrow, and Aquaman (even though all he did was swim) made my eyes widen. To see most of the founders of the Justice League trying to bring down Lex Luthor is what i've been waiting for. This sounds a bit off topic, but making a live action Justice League show would definitely make me have a reason to shove everything that i usually do during the week down the drain just to watch one episode. This is the thrill i got from watching this episode. I wish they had made this episode a little longer, like a two hour special, because i felt that one hour of the Justice League wasn't enough. Now before i bore you (unless i already have with my rambling) i just want to say, Smallville is cool again. It sort of lost its touch when the show started focusing on Lana. But i'm sure the writers will just fall back into that loop hole. :( So enjoy this episode. Who knows when another good one's going to come out. Catch it again this Thursday, Feb. 22, if you missed the first airing.
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This is a reunion, a team, and a great episode of Justice. From hesitation to resolution, Clark has made a important leap from a troubled teenager who was afraid of a controlled destiny, to a Superman who, like Green Arrow, sets aside his emotions to his few loved ones, ready to save the whole planet. This is not just a thrilling story about teamwork, loyalty, and friendship; this is also about deciding what's more important in life, a lesson for Clark. I do not want the series to end, but I hope the ensuing episodes will strictly stick to what Justice shows without any "rewind" pushes and put a good end here of Smallville---and a wonderful beginning of Superman.<br /><br />In this episode, however, we should have seen more contrast between Lex and the Team. Nine stars should give it enough credit.
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positive
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This particular episode of Smallville is probably the best episode to air since reunion. This is for many reasons. For example, it takes the series back to some of it's roots. It welcomes back Lionel from a supposedly long absence, with the Luthorcorp plaza office in Metropolis. This room hasn't been in smallville for a very long time, and seeing it again brings back many memories from the smallville's past. Not to mention, Lionels conversations with Lex are always admirable.<br /><br />Another pleasant return is, well uv guessed it, is Bart Allen(aka Impulse), AC(aka Aquaman) and Victor Stone(aka Cyborg). Not only does Steven Deknight reunite the former justice leaguers, he blends them in with the Smallville formula in such a unique way, that it almost feels like it is a feature length movie.<br /><br />From there you get the basic story, Green Arrow forms the league, attempts to blow up 33.1, Bart gets captured, Clark saves him, and the facility is blown to kingdom com. All is good and graceful, with a good mix of stealth, action, pace and suspense. Oh, and Cyborg has some cool new upgrades true to the justice league character :).<br /><br />The music is probably what makes this episode work so well. If you remember correctly, the first episode Steven Deknight directed was Agless from Season 4. This was a mediocre episode, but something felt out of place. maybe it was the music, or the acting, or the fact clark sais at the end "we didn't find you, you found us", kind of made people lose faith in the formula. But thankfully Steve Deknight redeemed himself in this Justice episode.<br /><br />I had a few quivvles about Justice that made it fall short of the full 10. First of all, the far too cheesy exit of the justice league from the Ridge facility expolsion. I mean it would have been soo much cooler if say Green Arrow and Cyborg took off on Oliver's bike (rememeber from the arrow episode). Clark and Impulse should have obviously ran, and aquaman should have swam via another route. But that was soo incredibly cheesy, it nocked off 2 points from the full 10.<br /><br />Secondly, another cheesy moment, not as bad as the first, but when Green Arrow sais "let's go save the world". That made me cringe. All in all, judging by the acting performances, music, direction and production values, the pros do outweigh the cons, and this is still one of the best episodes in smallville history, and maybe the 2nd best episode in season 6.<br /><br />7 Out of 10...
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Smallville episode Justice is the best episode of Smallville ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! It's my favorite episode of Smallville! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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Smallville episode Justice is the best episode of Smallville ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! It's my favorite episode of Smallville! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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Like other people who commented on "Fräulein Doktor" I stumbled by chance upon this little gem on late-night TV without having heard of it before. The strange mixture of a pulp fiction story about a sexy but unscrupulous anti-heroine on the one hand and a realistic and well-researched portrayal of war in the trenches on the other hand had me hooked from the beginning.<br /><br />To me this is one of the five best movies about WWI (the others are "All Quiet On The Western Front", "Paths Of Glory", "Gallipoli" and the post-war "La vie et rien d'autre"). And the scene with the poison gas attack is really chilling; the horses and men appear like riders of the apocalypse with their gas masks.<br /><br />I only wish I had taped the film.
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positive
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After watching the rather sloppy WW1 spy thriller, Madam Lili (1969)starring Julie Andrews on tv this afternoon, I suddenly thought I had seen a far superior WW1 spy thriller. All I could remember was that it was produced by Dino De Laurentis. It only took a short search on IMDB to find Fraulein Doktor. Once I recognised the title the memories came flooding back. It is, for its time, a reasonably well crafted story revolving around true events such as the death of Kitchener and the German offensives of 1918.It also has a female spy who is much more believable than Julie Andrews! As with other reviewers the first and strongest memory was of the well produced battle scenes and of men and horses in gas masks. If you have an interest in war films and particularly WW1 it is a film well worth seeing if you have the opportunity.
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positive
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I saw this at the theater in the early 1970's. The most memorable and scary scene is when the German army attacks with yellow cross mustard gas for the first time. The Germans and their horses are covered from head to toe (or hoof) with eerie protective suits. The experienced British soldiers don gas masks (only) and once again await the clouds of gas and the German attackers. The gas clouds move ever closer, finally enveloping the British defenders. The Germans move forward slowly menacingly in their scary looking garb. Suddenly a scream from the defenders... This gas is like no other that they have experienced before.... <br /><br />Now you will know why I have remembered this scene for the last 30+ years and still shiver, I think that you will too!
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positive
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I havent seen that movie in 20 or more years but I remember the attack scene with the horses wearing gas-masks vividly, this scene ranks way up there with the best of them including the beach scene on Saving private Ryan, I recommend it strongly.
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positive
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I saw this film by chance on the small box. It has a fantastic and chilling scene about poisonous gas. A lot about fanatical patriotism. A bit of eroticism. I can't believe it's still waiting for 5 votes!!
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positive
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It seems more than passing strange that such utter dreck as "Dukes of Hazzard" and "The Hills Have Eyes" (the new version) can find DVD distributors while older - and far superior works such as this film - are nowhere to be found. With all the on-going debate about the morality (or lack thereof) of warfare, and interest in espionage (consider the multiple Jack Ryan, Bourne, XXX, and "Mission: Impossible" productions, this would seem to be an obvious choice for release on DVD. True, it LOOKS like a 1968 motion picture because it IS a 1968 motion picture. But style consideration aside, this is still a production that actually has something valuable to say, and has plenty of plots twists to keep an audience entertained. If nothing else, will SOMEBODY please consider getting the soundtrack onto some kind of CD, whether it be a compilation with other Morricone music or as a stand-alone. I don't know if industry people bother to read what we fans have to say about their products, but if you are reading this and other comments, please take us seriously. We are paying for your lavish homes with our hard-earned dollars spent on tickets, DVDs and CDs - give us what we want! All that said, if you are reading this and have not seen this film, lobby for it's release so you may see what those of us who have seen it are talking about. You will not be disappointed.
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Fräulein Doktor is as good a demonstration as any of how the once great film industry in Western Europe has declined in the past 40 years. Then, in the late 60s, while the big Hollywood studios were on the ropes, Italy,France and England were turning out movies to fill the void left by Hollywood's decline. There were the James Bond pictures (Doctor No was a surprise hit in the USA, it was first released at the Century theater chain in NYC with a 99 cent afternoon admission price), the Clint Eastwood spaghetti westerns (with A Fistful of Dollars released by a distributor that never paid the Italian producers a dime)and French crime movies that usually went to art houses, with exceptions like The Sicilian Clan. And there were European co-productions like Doctor Zhivago and, of course, Fräulein Doktor. With its big budget for the time, and the world talent involved, Fräulein Doktor was good enough that viewers still remember the movie decades later.<br /><br />Kenneth More, playing a British intelligence officer, has a line in Fräulein Doktor where he tells a caught spy to either talk or he will play the Wall Game. The wall being opposite a firing squad, with little chance of the spy winning the game. That sort of cynical attitude played well across national borders, in the Vietnam War era of 1969.<br /><br />The steamy scenes between Suzy Kendall and Capucine probably did not damage these performers' chances at getting parts in Hollywood movies, Hollywood studios were in the process of shedding their overseas distribution and production businesses. Fox would no longer co-produce films like The Sicilian Clan, Columbia wouldn't distribute films like Belmondo's The Night Caller. MGM went even further, cutting almost all film production, selling its chain of theaters in India for the value of the land underneath and unloading its Borehamwood studio facilty as Kerkorian looted the studio to raise money for building his casino in Las Vegas (where a Bally casino gift shop sold MGM memorabilia at giveaway prices, stuff left over from the auction of MGM's prop warehouses).<br /><br />Paramount distributed Fräulein Doktor, but Gulf and Western's Charles Bludhorn, who had taken over the company and canned the studio's aged Board of Directors, unloaded the studio's film library to Universal (as I recall) and really became interested in movies after production chief Robert Evans started turning out one hit after another. But that was in the 70s. Fräulein Doktor with its lesbian scene was buried, with cut versions of the movie showing up on local stations through the 80s.<br /><br />Kenneth More was usually typecast as a bumbling guy when he was older, especially in the BBC detective series Father Brown. When he was younger, as in the British movie Titanic, he played his standard reserved British officer. In Fräulein Doktor, he had a chance to be a lot tougher than usual, as I recall. It would be nice to see if my memory of this movie is accurate, about his role and, of course, those cavalry horses wearing gas masks and protective covers riding into battle. That was some scene, and Alberto Lattuada showed he was some director, helming this World War I espionage movie, where the money spent on production values really shows up on the screen.
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positive
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There are movies, and there are films. Movies are more often than not merely cinematic "candy," whereas films are true works of art. Fraulein Doktor is certainly well-placed in the latter. As most viewers, I was highly impressed with the battle scenes, but the poignancy of the portrayal of the central character is what I consider to be the most sterling quality of the film. Having done everything possible to serve her country as a true daughter of Deutschland, all the while in the throes of morphine addiction, die Fraulein is treated very shabbily by the German high command despite all of her efforts. The scene in which the Doktor is being conveyed in the rear seat of a Mercedes Benz command auto, alone, desolate, and sobbing is perhaps one of the saddest yet truest depictions of a "spy's" lot in life. Only the emotional pain presented by Richard Burton in the Spy Who Came in from the Cold comes close. Fraulein Doktor is a far deeper film than one may realize upon a singular viewing. I only wish that its producers would see fit to release it on DVD so that those who have never experienced it can, and those who have seen it can again (perhaps again and again)enjoy this exceptional motion picture.
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positive
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Luckily, not knowing anything about this movie I was curious enough to tape it from TV. And then the tape ran out just five minutes before the ending!<br /><br />But I'm glad I managed to get most of it because this is a really great spy movie. There are the usual toy submarines and a bit foggy plots, but also very chilling and even daring moments. Considering the production year 1969, the certain slight lesbian overtones must have raised a few eyebrows. Of course now it doesn't surprise anyone and those scenes in fact seem pretty beautifully done. And it's not just because of the two George's actresses.<br /><br />The gas attack seems to hit every viewer very strongly, no wonder, And it certainly did hit me. Very effective. Also the viewpoints from the both sides of the opponents gives the whole story more deepness along the usual suspense and action. This is not just a heroic war tale of one victorious side, but shows what lies behind the victory in good and bad. Well, being a case of war, mostly bad.<br /><br />For the fans of composer Ennio Morricone this is also a must. His work is always excellent, touching but never over the top. And I think I have to try to catch more movies with Suzy Kendall. Talk about Fräulein! Let's hope they get this on DVD soon, so I can have the entire movie in my collection and more people will become familiar with this very little known gem.
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Like almost everyone else who has commented on this movie, I can only wonder why this has never appeared on video.<br /><br />I recall seeing it at about age 12 on the "The Late Show," circa 1972. I too recall the poison gas attack and the weirdly garbed horses. (I don't recall the more horrific bits I've seen described here; they were likely cut out for the TV audience.) But the scenes I REALLY liked were the ones involving the death of Lord Kitchener aboard the HMS Hampshire, almost exactly 90 years ago. The scenes of the doomed cruiser approaching the minefield in the storm were really chilling, as I recall.<br /><br />Don't recall the musical score, but the comments of the others now have me curious. Get this one out on video!
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positive
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I saw this movie once in or close to its release year 36 years ago (1969). Although I can now only remember bits of it, I long to see it again. The parts I remember, rightly or wrongly, include Mustard gas in the trenches and Suzie Kendall as a German spy, offering some bloke sexual favours in the back of an enclosed truck to get military information from him. The music score was especially memorable and emotion stirring in the league of Gone With The Wind and I would love to hear it again. There must be some commercial or copyright reason why this movie is not available. Anyone know why? I doubt its anything to do with a lack of quality or interest.
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positive
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Excellent film. Suzy Kendall will hold your interest throughout. Has not been shown on American TV for a decade. One scene that has always stayed with me is the German cavalry gas attack. You will find others. Hope they soon put it on tape.
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positive
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This is an excellent but hard to find trippy World War I spy thriller in the inimitable 60's Italian style. From the psychedelic graphics of the introductory credits and the great score by Ennio Morricone to the lesbian love scene with Capucine and the elaborately produced apocalyptic no man's land battle scenes with poison gas and German cavalry in full gas proof 'storm trooper' gear, this is a movie that should not be missed. It is a film that captures the horrors and cruelty of war and the ruthlessness of the players on and off the battlefield. Apart from the battle scenes, some of the production and special effects are primitive, apparently because the bulk of the budget for this movie was saved for the battle scenes, but for lovers of 60's cinema it should not be an issue. I first saw this movie on television many years ago and had the foresight to tape it on VHS. I still have the tape and enjoy watching it again from time to time.
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positive
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I remember seeing this film years ago on, I think, BBC2. I would very much like to view it again - does anyone know how I can obtain a copy? As I remember, it was an especially powerful movie, in particular the scene that stands out is of the horses wearing gas masks. Apart from that I really can't recall too much about the story - which is why I want to view it again! I have trawled the web but am unable to find a copy, which is unusual in my experience - perhaps there is no DVD or VHS of this film on the market. Would appreciate any help anyone can give me on this. Thanks very much in advance for your assistance. Best regards, Albany234@googlemail.com
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positive
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well done giving the perspective of the other side fraulein doktor captures both the cost and the futility of war. excellent acting especially when german high command refuses in the name of chivalry to present medal kaiser ordered struck. the scenes of carnage are probably too intense for effete US minds who'd probably prefer some silly speeches and senseless abstractions like 14 points or the league of nations. real americans might appreciate the story line and the action. for all the action and intrigue, fraulein doktor compares favo(u)rably to Jacob's Ladder.
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positive
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Just saw this movie today at the Seattle International Film Festival, and enjoyed it thoroughly.<br /><br />Great writing and direction, excellent and believable interaction among the cast, and great comic timing as well.<br /><br />This movie touches on themes that are universal-family and separation. As a result, I can see European, Asian, and American audiences all finding points of similarity between this film and their own lives.<br /><br />If all that wasn't enough, this has the potential to be the best underground date movie of the year...somebody distribute this in the USA, please!<br /><br />Finally: thank you Maria Flom! It really is a great film.
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This is an incredible film. I can't remember the last time I saw a Swedish movie this layered. It's funny, it's tragic, it's compelling, and most of all it's a slice of Swedish small town life. It crushes the clichés, and dwells deeper. It makes you feel connected, not only to the main characters, but to all the characters.<br /><br />Big city girl tracing back to her roots, her small hometown, to celebrate her father's 70th birthday, crossing paths with people she hasn't met in several years. Although the story itself isn't unique, it offers a fresh approach. The center of the story is the relationship between three sisters (on different stages in life), who aren't very close. Or at least don't realize how close they are.<br /><br />One key reason that makes it so easy to connect to the people in this film is the immaculate cast. First, I'm more than pleased about the fact that there are absolutely no so-called 'A-list' Swedish actors in this film. Usually there is a handful of actors that has the ability to find their way into almost every major production in Sweden. This time the production company managed to keep it real by casting actors who actually seem to love their profession. Sofia Helin is probably the first Swedish actress since Eva Röse to prove that you don't need words to convey an emotion.<br /><br />The writing is also very appealing. The dialogue is more than believable, and compared with other Swedish films from the past year or two, it's ahead by miles. Maria Blom controls everything from the beginning, and if you didn't know, you would never guess that this is her first time writing AND directing a feature length film. I can't wait for her next one.<br /><br />Once you start watching this, you really want to see it through.
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I saw this at the Mill Valley Film Festival. Hard to believe this is Ms. Blom's directorial debut, it is beautifully paced and performed. Large cast of characters could be out of an Anne Tyler novel, i.e. they are layered with back story and potential futures, there are no false notes, surprising bursts of humor amidst self-inflicted anxiety and very real if not earth-shattering dilemmas. If you saw "The Best of Youth," you will recognize how well drawn the characters are through small moments, even as the story moves briskly along. I really hope this gets distribution in the USA. I live in a fairly sophisticated film market, yet we rarely get Swedish films of any kind.
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positive
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This is the best movie I've ever seen! <br /><br />Maybe it's because I live just a few miles from the village were the story take place, and I know how things work out in this area in Sweden. The movie tells the truth, believe me! It both criticizes and honors the lifestyle of Dalarna, and the producer wants people who watch the movie to be more opened minded and care more for your closest friends and relatives.<br /><br />But if you live in another small village anywhere in Sweden (or another country) you will probably also recognize much from this movie.<br /><br />Thank you Maria Blom!
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positive
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The movie takes place in a little Swedish town where everybody knows each other. Here Mia visits her parent for the birthday of her father, a which occasionally always have some kind of tragedy, the question is just what will it be this year, and you will be surprised... It is an extremely well composed movie, with a story which has a perfect balance of humor and seriousness, which is rarely seen. You get happy, you get hurt, and basically everything in between. Finally you can't help falling in love with Mia(if you are a boy I guess(the main actress)) She is an extremely well chosen actress, as a lot of the other actors/actresses.<br /><br />Enjoy
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The tighter the drama, the better the film of sister rivalry! This little gem was mainly promoted as a comedy upon its release in Sweden, so I'm glad to find that wasn't the whole case. Funny bits on small-town bickering are there to enjoy, surely, but the drama takes center stage, as the story progresses. And not just family drama, it also raises poignant questions on respecting differences of peoples' lifestyle choices.<br /><br />Great character ensemble with many superb and moving dramatic scenes that score credibility points; and they're not just scattershot, but hold everything in place. It just makes me assume that if Ingmar Bergman had made this (the drama would suit him!), the international attention probably would have been immediate.<br /><br />7 out of 10 from Ozjeppe.
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This is not a profound movie; most of the plot aspects are pretty predictable and "tried and true" but it was well-acted and made some interesting points about what we might regret (our "mistakes" as the movie calls them) as we look back over our lives. I had not read the book, so didn't know much other than it was the story of a dying woman who has strong memories from long ago that she hasn't really shared with anyone. Thankfully they got a top-notch cast....Meryl<br /><br />Streep's daughter, Mamie Gummer, plays the young Lila, and then Meryl shows up at the end of the film as the old Lila...in addition to an amazing resemblance (duh!) the younger actress did a great job (perhaps not quite up to her mom's caliber, but who is?) All others in this film were fine, although I wish there had been more of Glen Close and thought the Buddy character was alittle too dramatic. <br /><br />This is more of a girls' movie than for the guys, but a good one to see with your mom, or your daughter, and maybe start some dialog going. How hard it is to really know a parent as a "person"!
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I love this film and it is such a wonderful example of a family jeopardy, a romantic love story, and a very sad story plot. Everything was just so perfect and excellent about this film. It was such a great mixture of actors and actresses and with some laughs and a lot of cries this film deserves to get plenty of awards. With the mention of beautiful scenario, and although I would relate this film to The Notebook and The Family Stone, it was sort of much more cunning, sad, and brilliant than those films. The Evening tells of a love story between an old woman dreaming back to her younger years, and her two daughters stay by her side while she is not well. The story dating back is so strongly told and wonderful I was sitting on the edge of my seat. You really get to know all the characters and by the end, I was wanting to watch it all over again. This is a amazingly sad and vividly acted and plotted movie that is really one of a kind and should be seen by all for how wonderful it really is. All the performances are astonishing and the film captures your attention from the very beginning and never lets go. I loved it, and am so glad that I watched it for it was truly an astonishing film...
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positive
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While in her deathbed, Ann Lord (Vanessa Redgrave) repeats the name "Harris" and recalls the day on the 50's when she was an aspirant singer and traveled from New York to be the maid of honor of her wealthy friend Lila Wittenborn (Mamie Gummer) in Newport. Ann Grant (Claire Danes) is welcomed by Lila's alcoholic and reckless brother Buddy (Hugh Dancy) in the Wittenborn's cottage at seaside and he tells her that his sister is in love actually for their friend and servant Harris Arden (Patrick Wilson), who fought in the war and has graduated in medicine. Later the bride-to-be confesses her true feelings about Harris to Ann. However, when Ann meets Harris, she has a crush on him and they have a brief affair during one night stand while a tragedy happens with Buddy. Meanwhile Ann's daughters, the insecure and unstable Nina Mars (Toni Collette) and the happy wife and mother Constance Haverford (Natasha Richardson), are worried with their mother and have differences to be resolved.<br /><br />"Evening" has one of the best feminine casts I have ever seen in a movie, with magnificent performances. The resemblance of the stunning Mamie Gummer with her mother Meryl Streep is amazing and she has a performance that honors the name of her mother. The locations, costumes, set decoration, cinematography and soundtrack are also awesome. Unfortunately the plot is confused and I have not clearly understood the message of this film. Why motherhood is so important in the story? Was Constance engendered in the night stand of Ann and Harris and he would be her father? Why Ann and Harris have not stayed together, if the guy really loved her like he confesses in their occasional encounter in New York? Which issues Ann Lord has resolved after the visit of Lila Ross? Was Buddy Wittenborn bisexual or his love for Harris was a fraternal love? Why Nina Mars changed her thoughts about motherhood in the end? It seems that the screenplay writers or the director failed since they were not able to make sense and fulfillment to the beautiful love story. My vote is seven.<br /><br />Title (Brazil): "Ao Entardecer" ("In the Eventide")
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positive
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After seeing the trailer for Evening, you will probably first think about how great the cast is involved, (I mean they even got Rocky Horror's own Brad, Barry Bostwick, to show the world he is still acting), and the next second about how they just showed us the entire movie. While not entirely true, the film is pretty much summarized nicely in the trailer, and that isn't necessarily a bad thing. This is a story about a dying woman who is remembering a time very long ago when she met the love of her lifethe one that got away. Her daughters hear her reminiscing about people they have never heard of and the story of what happened when she and Harris killed Buddy soon plays out. No matter what happens, though, the film is not about these people and what they do, good or bad. It is a vehicle to show that there are no mistakes in life. What may be regret could in fact be the one instance in your life that needed to occur in order for the good times that follow to ever happen.<br /><br />The story itself is nicely told and very obviously adapted from literature. Our filmmakers here decide to tell the story by intercutting between the present (Ann on her deathbed), dreamstate (Ann hallucinating by combining the present with the past in her mind), and the past (Ann meeting Harris at her best friend's wedding). There are a few times where the cuts are a tad abrupt, and the progression of the past is so good that you may find the present stuff a bit longwinded and boring, but overall it is handled better than at first thought. It's not as though Ann's life now is uninteresting, it just has less to do with the plot then it does with the morals being learned. While I grant that the parallels to the past help alleviate the problems for Ann's children currently, I was still a bit too enraptured in the wedding to care as much as I maybe should have. There are some nice moments, though, for instance, the crash that awakens Ann from slumber being mirrored later on, and the cryptic dreams which bridge both worlds together.<br /><br />It is the acting that makes the flashbacks so enthralling and fluid. These performances are completely riveting to the point where you get a bit angry when our time period has changed and we must wait to find out what happens next. No matter how annoying I find Claire Danes' angry/sad/crying face that exists in every role she plays, the girl is good at what she does. I find myself warming to her talents more and more lately and this one just furthers that thawing. Patrick Wilson is always great in whatever I've seen him in. You must give him credit for picking some really fantastic roles and never doing much more than one film a year. From Angels in America to last year's Little Children, the guy will soon blow up, but hopefully he will stay true to the craft and not cash-in. Heck even Mamie Gummer is good as the younger version of her real life mother Meryl Streep, (who surprisingly is in the film very little). She is still rough around the edges, but she was wonderful at expressing the emotional turmoil her character goes through on her wedding day. The real revelation, though, is Hugh Dancy. I feel I've seen him in many things, but in fact it seems only in King Arthur. Dancy literally steals every scene he is in and the way in which his role of Buddy is devastated by love/alcohol/life is etched in his facial expressions throughout. Without his performance, the flashback sequences could have fallen into the somewhat forgettable category as the rest of the film and made the experience as a whole much worse.<br /><br />While not wholly original in the ways of what the writers are after, Evening does bring intelligence and craft to the table. You may be able to fault the length and amount of cut scenes to tie everything together, but you can't argue that the acting isn't worth sticking around for. Maybe a film version of the wedding alone could have been something to see, however, when it is all put together, there may also be something coming out of it that couldn't have been achieved without all the other story threads. Either way, the payoff is worth the ride for the most part and each plane of reality finishes with its own subtle beauty and lives up to what had come before it.
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positive
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The Danes character finally let's Buddy have the awful truth. ""Leave me alone, kiss men if you want to," she screams self-righteously in front of everyone, thus destroying the man who has been in love with her for so long. Nice girl. This might be the place to reconsider all of the giggly charm that Danes pours into this character. Great reason to feel sympathy for her lying in bed and dying, but hey, remember, there are no mistakes, except, maybe, seeing this film. <br /><br />Wait a minute. This irony is intended! This is actually a masterpiece of ironic wit, yes! But somehow I doubt that's what the creators of this film had in mind, sadly. Maybe there are a few mistakes, after all.
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positive
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So many wonderful actresses in one film serve as a practical invitation to the local movie house so I duly responded. Here are some remarks..<br /><br />Vanessa Redgrave is great even while lying in bed. She also looks very old and I don't think this is achieved with much make-up which is a good thing for the film but a sad thing for us cinema-goers. I think her aging got a bit harsh in recent years. Claire Danes continues her welcome return to the movies and exudes a definite warmth. Mamie Gummer's resemblance to her mother Merly Streep both in terms of physical appearance and acting style is so striking that I lost my concentration to the film for a couple of minutes after her entrance. She is surprisingly good; however such a resemblance has the danger of working against her favor. I agree with a previous comment: Natasha Richardson definitely had some plastic job done to her face. She certainly does not look like how I remember her from previous films ("Nell" for example.) Both she and Toni Collette sadly do not make much impression partly because they do not look convincing as sisters. Their interplay is weak. Toni Collette additionally is way too old for her character. Glenn Close and Meryl Streep had to have more screen time. Streep's performance actually is little more than a cameo. Her scenes on the other hand have bigger emotional resonance than the rest of the film. Eileen Atkins provides some welcome dry wit, especially in her second role as an imaginary nighttime companion to Redgrave's character. As for the men; Hugh Dancy enlivenes the film considerably even though he gives a broader performance than needed. As a matter of fact as soon as he exits the story it starts to drag. It is also to his credit that he manages to create the exact necessary sense of boyish charm in the viewer. Patrick Wilson on the other hand is a complete void at the center of the film. He also has the misfortune that the script is insufficient in explaining why three people (one of them a man) are so much smitten by this man. The backstory to this should have been developed more.<br /><br />The cinematography is excellent as expected. However the main summer house set failed to convince me. It does not look natural on the top of that rocky hill, particularly with its grass patch in the front. A bit too cardboard like.<br /><br />Overall, the film is a classy production, but a seen-it-all-before, cried-at-it-all-before feeling took over me during most of its duration and consequently it failed to make the kind of impact on me that I expected from a tearjerker. However, it still managed to make me thoughtful about the passing of time, about one's expectations from life and the extent to which these are fulfilled or not. Worth trying at least on DVD if not at the movies...
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positive
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If you cannot enjoy a chick flick, stop right now. If, however, you enjoy films that illustrate complex characters and provide extraordinary acting, read on.<br /><br />Ann Grant Lord is dying. Her two daughters arrive to be at her bedside. Ann begins talking about people from her past of whom the daughters are unaware, and they question as to whether these lost acquaintances are real or imagined. They come to realize that these people from their mother's past are, indeed, real.<br /><br />The story shifts, basically, between 1953 and circa 2000 with a few glimpses at Ann's life between those years. It was in 1953 that Ann met the love of her life and experienced her life's greatest tragedy.<br /><br />One of Ann's two best friends from college, Lila, is being married. Ann's other best friend is Lila's brother, Buddy. Lila and Buddy are the children of a rich Newport family, whereas Ann is a cabaret singer living in Greenwich Village who wants to be a free spirit but is still bound by many of those 1950's conventions.<br /><br />Soon after Ann arrives to be maid of honor at Lila's wedding, she meets the person who will become the pivotal character in the lives of the three - Harris. He is the adult son of a former servant of the family who grew up with Lila and Buddy and has gone on to become a physician in a small New England town. Ann immediately becomes enamored of Harris which adds a complication to the fact that Lila has always been in love with Harris and continues to be. Buddy, also, is in love with Harris, but being 1953, he has redirected that homosexual desire for Harris to his good friend, Ann for he cannot admit to himself that he has a sexual craving for another man. Buddy exhibits his inner frustration outwardly by being the alcoholic, wise-cracking bad boy of the family - much to the chagrin of his very proper and uptight parents.<br /><br />Needless to say, all of these expressed and repressed emotions lead to tragedy - after all this is a chick flick.<br /><br />In the present time, Ann's daughters have become distant from their mother and are suffering their own life realizations and doubts. Constance is working to emotional exhaustion trying to keep up her roll as perfect mother and wife. Nina, having always felt inferior, cannot maintain a relationship.<br /><br />Stir all of these relationships into a span of fifty years, and you get an intriguing look at society, its values, and its effects upon the personalities and actions of the complex people involved.<br /><br />All of the acting in Evening is excellent, but there are some extraordinary performances and scenes - along with two unique family relationships - that make this film so very, very special.<br /><br />Claire Danes plays the 1950's Ann, and she does it in a style that clearly shows an intelligent woman of those times who is conflicted by what she is supposed to do as opposed to what she wants to do. Her performance is not easily forgettable.<br /><br />Vanessa Redgrave plays the dying Ann whose mind shifts from the present, to the past, to flights of fantasy, and of course, Redgrave pulls it all off with sterling style.<br /><br />Natasha Richardson - Redgrave's real daughter - plays Ann's daughter, Constance, in the film. The scenes between this real life mother and daughter playing fictional mother and daughter are an insightful treat to watch.<br /><br />Toni Collette plays Ann's other daughter, Nina. Nina spends a good deal of her time being depressed and feeling sorry for herself while shutting out a good man who loves her as well as her mother and sister. Collette is perfect for a part such as this, but I have never seen her give a bad or unbelievable performance no matter what part she plays.<br /><br />Mamie Gummer plays 1950's Lila and shows us a woman even more conflicted of her expected role in life than her good friend, Ann. She is very good.<br /><br />Meryl Streep - Gummer's mother - plays present day Lila. What is there to say about Meryl Streep other than she always gives an insightful and rewarding performance.<br /><br />Director Lajos Koltai states in the DVD extras that he sought out Glenn Close to play the relatively small part of Lila's mother because he felt she was the only actress he could think of to play one scene in the film. He certainly was right, and Close's performance in that one scene etches it in your mind. All the other scenes in which Close is Lila's very proper mother, and you get another performance to treasure.<br /><br />There are three other scenes in the film, combined with the one featuring Close described above, that make the whole movie worth watching. On Lila's wedding day, Ann comes into her room and crawls into to bed with her friend to discuss Lila's misforgivings about her upcoming wedding to a man she clearly does not love. This scene is repeated fifty years later when Lila comes and crawls into bed with her dying friend Ann to talk about the lives they have lived. In this latter scene, Streep and Redgrave are enthralling.<br /><br />The other memorable scene - at least to me - is when Buddy declares his love for Ann. Hugh Dancy as Buddy gives us a heartbreaking performance of a young man torn apart by his conflicting sexual feelings. His performance is superior.<br /><br />Chick flick? Yes. A very special film with unbelievable acting, directing, and scenery? Definitely. I cannot recommend Evening too much.
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positive
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Evening is an entertaining movie with quite some depth. All the actors and actresses turn in spectacular performances. With the tremendous cast, though, one expects stellar acting, but in this movie the expectations are exceeded. One can relate to personalities and situations in ones own family. As one watches the interaction of the family members one's own family memories are immediately brought to mind. This is one of the few movies that inspires one to read the book. Usually it is the other way around; one reads the book and then wants to see the movie. I will definitely obtain a copy of the Susan Minot book and read it. The Rhode Island scenery is spectacular as is the soundtrack. Any car buff will enjoy the apparently expertly restored period automobiles. Needless to say now, but I recommend Evening highly. See it you will enjoy it.
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Criticism of the film EVENING, based on the novel by Susan Minot and adapted for the screen by Minot and Michael Cunningham, has been harsh, so harsh that it may have discouraged many viewers from giving the film a try. The primary criticism has centered on the fact that very little happens in this film about a dying woman's fretting over a mistake she made one summer in her youth, that famous actors were given very minor roles, that the entire production was over-hyped, etc. For this viewer, seeing the film on a DVD in the quiet of the home, a very different reaction occurred.<br /><br />Ann Grant Lord (Vanessa Redgrave) is dying in her home by the ocean and her medication and memories allow her to share a man's name - 'Harris' - with her two grown daughters Nina (Toni Colette) and Constance (Natasha Richardson). As her daughters sit at her bedside Ann relives a particular summer when she was a bridesmaid for her best friend Lila (Mamie Gummer) - a marriage both Ann (Claire Danes as the youthful Ann) and Lila's alcoholic brother Buddy (Hugh Dancy) objected to, feeling that Lila was simply marrying a man of her class instead of the boy she had loved - Harris Arden (Patrick Wilson), her housekeeper's son who had become a physician. Harris, Buddy, Lila, and Ann are woven together in a series of infatuations and romances that have been kept secret until now, 50 years later, as Ann is dying. The older Lila (Meryl Streep) visits Ann at the end and the secrets are revealed: 'there are no such things as mistakes - life just goes on.' The film is a delicate mood piece and the script by Minot and Cunningham is rich in atmosphere and subtle life lessons. Yes, there are gaps in the story that could have used more explanation, but in order to maintain the aura of nostalgia of a dying lady's words, such 'holes' are understandable. The film is graced by the presence of not only Redgrave, Richardson (Redgrave's true daughter), Collette, Gummer (Streep's true daughter), Meryl Streep, Claire Danes, Eileen Atkins, Glenn Close, Hugh Dancy and Patrick Wilson, but also with an ensemble cast of brief but very solid performances. The setting is gorgeous (cinematography by Gyula Pados) and the musical score is by the inimitable Jan A.P. Kaczmarek. Lajos Koltai ("Being Julia') directs. Judge this film on your own.... Grady Harp
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I have watched this movie three times. The last time, I kept skipping around confusing scenes to find resolution for the plot. Perhaps the plot is not intended to hang together logically. Or perhaps these rough spots are in the plot because Ann's recall of distant events is rather faulty.<br /><br />Take the young Ann Grant (Claire Danes). Here is a young woman who has attended an unnamed college with the scions of a rich family. She must have had help to afford this very expensive education, but never seems to have any family ties at all. She never seems to have any relatives she can turn to when the consequences of one of her disastrous decisions take effect.<br /><br />Ann shares an evening of passion with her great love Harris Arden (Patrick Wilson). Then, when Harris comforts Lila after the tragic death of her brother Buddy, Ann suddenly finds him repulsive and is disgusted with her own behavior. I must have missed something significant here. Ann's behavior seems totally inexplicable. Ann abandons her relationship with Harris and eventually marries one of the groomsmen at Lila's wedding. Despite Ann's rejection of Harris, she continues to hold deep feelings for him on her deathbed.<br /><br />It was obvious from his behavior that Harris was deeply smitten with Ann and would have gladly married her. A scene showing their chance meeting years after Lila's wedding showed that Harris still had deep feelings for Ann.<br /><br />The film showed a pattern for Ann's romantic relationships. She always had a falling out with her men and she rejected them. This pattern held with Harris and two husbands. In contrast, Lila married a man she did not love and she remained with her husband until he died. Perhaps Lila was able to build a relationship because she refused to let her marriage fail.<br /><br />Then came the too convenient reappearance of Lila Ross at Ann's bedside. Apparently Ann's nurse was able to extract enough information from Ann's last few lucid moments to identify and contact Lila. None of this communication appeared on the film.<br /><br />I kept wondering about the house Ann was living in during her final days. How did she afford to buy such a house on the meager earnings of her singing career? Ann always seemed one step ahead of financial disaster while raising her two daughters.<br /><br />On another level, I enjoyed the film's setting and music immensely. The seaside mansion was just so heartbreakingly beautiful. Claire Danes was luminous as the young Ann Grant. She is really quite a talented singer. I much prefer her natural brunette to the bottle blonde look she had in the film extras. If only those pesky CGI fireflies would go away, I could raise the movie a whole point in my vote!
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...here comes the Romeo Division to change the paradigm.<br /><br />Let me just say that I was BLOWN AWAY by this short film. I saw it, randomly, when I was in Boston at a film festival and I have thanked god for it every day since. I really, truly believe I was part of a happening, like reading a Tarantino script before any else did or seeing the first screening of Mean Streets.<br /><br />I am not sure what festival the short is headed to next or what the creative team has on tap for future products, but I so hope I can be there for it.<br /><br />Again, a truly incredible piece of film making.
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My mother and I were on our way home from a trip up to the North East (mainly Massachusetts) when we decided to take a little detour a attend a film festival in Boston. Now, I don't know much about film so I thought this might be a bit educational. The first movie we saw was this one, THE ROMEO DIVISION. Now, I don't know about you but I thought this was great! I'm from Texas and where I come from we don't see too many motion pictures so this was a pleasant surprise. My mother insisted that it was too violent, but said that I didn't know much about what she was saying but this was a great picture. I was shocked by the fight sequences they were great. Also, I am a big fan when the good guys win so I was thrilled when Romeo ladies killed all of the bad guys. This was true brilliance. I'm not sure when it's getting released on video but if you get the chance you should check it out. I think you'll be pleasantly surprised. A word to the wise though, it is rather violent and there many cuss words so you may not want to let your children watch. It's more for adults.
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I love this movie! 10 out of 10 hands down! It is that damn good! I am not much of a fan of movies but I gotta tell you this one opened my eyes. Astounding color and fast energy. I was fortunate to catch this at a screening during the Zoinks! Film Festival in Boston, and the story really enveloped me from the start. It had a lot of adult themes and character and when it ended I wanted more. I hope they make a sequel. That would be fun. My only problem with it is the performance of Melissa Connor as Anya. UGH! She SUCKS! I've seen a block of wood pull out a better performance. I don't what the director was thinking when he cast her. But if you ignore her you can't help but give this movie a big ten!!!
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I just want to say that I am so glad somebody finally spilled the beans on this movie. Bravo "The Spaz", Bravo! This movie is a ridiculous farce of film-making. Especially for a student film! I just want to give credit to the Spazz for taking the absurd amount of time a care to find such a rare picture, and then TO COMMENT ON IT! Most people I know don't have that kind of time, especially so few will end of reading it. Kudos to you sir! Anyway, the movie follows a thin storyline that is at the least unbelievable and just plain silly. I understand the idea behind creating a satire of Charlie's Angels but why hire such atrocious actresses! Also, what kind of director has himself act, write, produce and also edit the picture! Choose one job and put all your love into it man! It's such a shame because I hear he made a good movie about a killer toothbrush. Again, thanks to the Spazz for pulling back the curtain on this film, people like you are a rare find.
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When I first saw the Romeo Division last spring my first reaction was BRILLIANT! However, on future viewings I was provided with much more than masterful film-making. This picture has a singular voice that will echo throughout the annuls of film history.<br /><br />The opening montage provides a splendid palette which helmer JP Sarro uses to establish his art on this canvas of entertainment.<br /><br />Sarro truly uses the camera as his paintbrush while he brings us along on a ride that envelops the audience in a tremendous action movie that goes beyond the traditional format we have become accustomed to and dives deeply into dark themes of betrayal, revenge and the importance of companionship. This movie is any director's dream at its very core.<br /><br />However, Sarro was not alone in this epic undertaking. The writing, provided by scribe Tim Sheridan, was just as breathtaking.<br /><br />The dialogue was so precise and direct that it gave the actors such presence and charisma on the screen. Specifically speaking, the final scene (WARNING: SPOILERS!!! SPOILERS!!!) where Vanessa reveals herself to be one of the coalition and a villain all the time, is written in such a dark tone that it is one of the most chilling endings I have ever seen. Sheridan is the next Robert Towne.<br /><br />In a final note it is obvious that this production was no small feat.<br /><br />Therefore much praise must be given to producer Scott Shipley who seems to have the creativity and genius to walk next to Jerry Bruckheimer. Never before have I witnessed a production so grand with so much attention directed at every little detail. A producers job is one of the hardest in any movie and Shipley makes it look easy.<br /><br />All in all this film combines creative writing, stunning production and masterful direction. This is the art of film at its best. When the ending of the film arrives the only thing that is desired is more.<br /><br />The Romeo Division is groundbreaking, a masterpiece and, most importantly, The Romeo Division is indeed art.
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I hated the first episode of this show ( 'Protesting Hippies' ) so much in 1999 that I shunned the rest. However, when it came on 'The Paramount Comedy Channel' I watched it in full and, to my surprise, found it absolutely hilarious ( Motto: never judge a comedy series in its first week )! <br /><br />Set in 1969, 'Hippies' stars Simon Pegg as 'Ray Purbbs', editor of an 'Oz'-like underground magazine called 'Mouth'. His friends are the feminist Jill, laid-back Alex, and the half-wit Hugo. Back in the late '60's, there was a feeling of incredible optimism amongst the young, that they could change the world through the printing of magazines nobody read. Rather than sneering at the hippies' naivety, 'Hippies' is affectionate towards it. Arthur Mathews' scripts cheekily parody a number of that era's icons - 'Hair', 'Woodstock', 'The Graduate', even the infamous 'Oz' obscenity trial of the early '70's. Excellent performances from the cast; Julian Rhind-Tutt's 'Alex' strangely put me in mind of the Richard O'Sullivan character from 'Man About The House'. Its a shame that there was never a second series, possibly because of people like me. If you missed 'Hippies', give it a try. Once you get past the dire opener, you're in for a treat!
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I often wonder why this series was slammed so much. I thought it was brilliant and also very cleverly written and performed. I think in time to come it will be seen in the light it deserves, that is if they ever issue it. Many up and coming young comedy actors appeared in this and all went on to greater things. Maybe this fact will make people aware of its value and it will have to be issued. Sally Phillips, Simon Pegg, Peter Serafinowicz and not least Julian Rhind-Tutt of the hugely successful Green Wing. The writers Graham Linehan and Arthur Matthews are two of the finest comedy writers of the modern age. Anyone that can produce comedy like Father Ted couldn't be capable of writing something not worthy of publication. If it is ever issued I will certainly buy it.
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Having set the sitcom world alight with 'Father Ted' Arthur Matthews and Graham Linehan's next creation was a forgotten gem for the BBC called 'Hippies' Although created by the pair- the six scripts were written by Arthur Matthews alone.<br /><br />Set in London in 1969- Ray Purbs, a hippy, is the editor of an anarchist magazine. His friends are his flat-mate, the very laid back and cannabis smoking Alex, his 'girlfriend' is feminist Jill and the none too bright Hugo.<br /><br />Simon Pegg was superb as Ray, but he is superb in everything he is in. This sitcom had a feel of 'Citizen Smith' about it. Ray was very much like Wolfie Smith, trying to beat society, but failing miserably. At last this sitcom is going to be released on DVD in March, I can't wait to buy it. As it was on in 1999 and has yet been repeated on terrestrial television- my memories aren't too good of the sitcom, yet I remember two episodes really clearly, the first being the opener 'Protesting Hippies' which I thought was a great start- where Ray goes on a protest against sandpaper and the other episode was 'Hippy Dippy Hippies' which I think was episode 4, again quite a clear memory about the Police. Sadly, the sitcom got a negative reaction from viewers (I can't think why). The BBC commissioned another series, but Arthur Matthews decided against it because of the negative reaction. Oh well, I can't wait for the DVD.<br /><br />Best Episode: Hippy Dippy Hippies- Series 1 episode 4.
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Barriers seems to be one of those series that have been lost in the mists of time. After it's transmission in the early 80s and one repeat, it's since sunk without trace. This is a crying shame.<br /><br />I originally watched this when it was transmitted in the Southern TV region on Sunday afternoons and was classic tea-time viewing. Although I don't remember a great deal about the program, a few things stuck in my mind. Most notable were the unforgettable titles. The mournful flute music accompanying the attempted escape across an East European border and the subsequent car crash (and that scene has left me with an abiding love of 'fintail' Mercedes models as they used a Merc 200). Although it wasn't obvious at the start, the solution to the series' mystery was in these titles.<br /><br />The plot about a young music student trying to unravel what really happened when he discovers he was adopted had lots of twists and turns but Barriers was a surprisingly 'adult' children's drama. Benedict Taylor was excellent as Billy and it was a shame he didn't do a lot more.<br /><br />This was a quality drama, well overdue for a DVD release and I hope I'll get the chance to re-acquaint myself with it in the future.<br /><br />A fond memory from my childhood
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what a relief to find out I am not imagining this programme! the summary from taxman is great. I too remember finding it haunting and not particularly family viewing, I must have been 10/11 at the time I watched it. I think for a girl that age part of attraction was lead's very blond hair, and his permanently sad state. The theme was played on a flute I recall - although I cannot remember how it went. I think the intro showed him playing it - or maybe he played a flute in the programme and especially when he was sad? Maybe I am destined never to know how it ended or to see clip or hear the tune, but at least I now know it is not just me.
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A classic series that should be at least repeated or released on DVD.Billy Toth,after realising he is adopted after the death of his parents,embarks on a journey to find his real parents.After various rites of passage,his search culminates in the discovery that his fathers identity was stolen and used by a human trafficker in Europe!If i remember correctly,the series ends on the Austrian(?] ski slopes and a cliff top chase resulting in the death of Billys fathers betrayer. This series was all filmed on location in various destinations round Europe and appeared polished and incredibly well made with some episodes crossing into the realms of film noir and crime thriller.The main arc was often eclipsed by the slices of life that Billy went through during his years of toiling to find his mother and fathers secrets.A class act but underrated and forgotten.
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In the previews, "The 40 Year-Old Virgin" boasts the image of another immature sex romp about a 40-ish Lonely Guy who suddenly feels the urge to do the deed simply because he hasn't. Too many past bad experiences have dampened his enthusiasm to the point that he avoids women completely. And then the unexpected happens: he falls in love. What's more, there's a movie out about it, and it's called "The 40 Year-old Virgin."<br /><br />The virgin of the title is Andy Stitzer (Steve Carell), who is indeed 40, works as an employee at an electronics store and collects vintage action figures, which are displayed all throughout his nice bachelor pad for all to see. He has a lovely home theater system and watches "Survivor" with his two kind elderly neighbors. He's a pretty picturesque definition of the Lonely Guy who needs to go out more and talk to more women.<br /><br />Now here's the real novelty with this picture: it does the impossible task of actually dealing with its subject matter in a cute, mature fashion. This is a movie that could very easily have turned out a lot differently in the hands of a more transparent team of filmmakers. It could have descended into endless sex gags and jokes but thankfully this picture never stoops that low. Sure there are sex jokes here and there and even a few prods are aimed at the gay community (which are, in no way, meant to be taken as gay-bashing), as two of the characters exchange insults towards each other while playing a video game ("Mortal Kombat: Deception," no less - the ultimate testosterone-driven fightfest for guys).<br /><br />As someone who is rapidly approaching 20, collects McFarlane Toys action figures AND has himself never done the deed, I found this film amusing and touching in a way that a similar-themed movie could never have been. I was able to relate to the character of Andy Stitzer more than anyone in the theater because I was the only teenager present at this showing; everyone else looked like they were all past 40. A bit arrogant, I know, but would you ("you" is italicized) still be able to relate if you were the only teen present at an afternoon screening of "The 40 Year-Old Virgin"?<br /><br />Of course Andy has never had sex and wakes up everyday with "morning rise" (don't ask), and he's pressured by his buddies to try outlandish methods of gaining the attention of the opposite sex. When it's first discovered Andy is a virgin, at 40, his three buddies and fellow electronics store coworkers David (Paul Rudd), Jay (Romany Malco) and Cal (Seth Rogen) all at first assume he's gay because he's never been with a woman, which couldn't be any further from the truth. The truth is, Andy loves women, but past traumatic experiences (revealed hilariously one after the other in a flashback sequence) have put him on the sidelines for good.<br /><br />David, Jay, and Cal each embark on a mission to get Andy laid, so help them all. But you know that such escapades will only end in disaster, as proved by one date with Nicky (Leslie Mann), who puts Andy through the worst drunk-driving experience I think anyone would not want to go through and he has a rather creepy encounter with Beth (Elizabeth Banks), the pretty girl who works in the bookstore and is eventually revealed to be a total sex fiend.<br /><br />Things brighten up for Andy when he meets Trish (Catherine Keener), the friendly woman who works at a store across the street that sells stuff on eBay for people. Hmmm. And with that nice-looking collection of action figures, you can go figure that in the end a large financial payoff awaits him, that is if he can ever "do the deed."<br /><br />At last, this is the sex romp we've been waiting for. It deals with a very real issue a lot of Lonely Guys probably go through, not that anything is wrong with being a virgin but let's look at the big picture: How many of us "Lonely Guys" want to be a lonely guy forever? The important thing we're taught in this picture is that Lonely Guy must be himself. I don't think he needs to go through body waxing like Andy does (which is side-splitting to be honest, and according to this website and various other news articles, was in fact real, and so was the blood on Carell's shirt afterward).<br /><br />"The 40 Year-Old Virgin" was directed by Judd Apatow and co-written by himself and Carell, which originated as a skit that starred Carell. Carell is sweet and human, as his character is not some layabout who approaches this thing with his eyes shut. This is probably one of the most intelligent romps I've ever seen and is not offensive (a whole lot) because its characters are treated with dignity and respect. Even Carell's buddies, who pass off bad advice to cover up their own relationship insecurities, can be related to on a fundamental level.<br /><br />The way "The 40 Year-Old Virgin" plays out is indeed funny in the end, but I'll leave that up to you, the viewer, to observe. Surely, if anyone can go through the things Andy does and still have the strength to attract a woman as sexy as Catherine Keener, then it's true: It is never too late!<br /><br />10/10
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Just came out of a sneak preview for this film. It had me laughing every 30 secs. The ending was so funny that tears were rolling down my face and it had me wishing I hadn't bought that large coke. There are definitely some lulls, but, overall, highly entertaining. The movie lets Steve Carell have a chance to shine after stealing the spotlight from both Jim Carrey in "Bruce Almighty" and Will Ferrell "Anchorman: The Legend of Ron Burgendy" in their movies. Paul Rudd is hilarious as always. I love that he can be so funny in these broad comedies and continues to work in indie dramas (like P.S.). I think that Seth Rogen should be getting more work, because he so freaking talented and engaging. Leslie Mann also had some incredibly funny moments. I highly recommend it for those who just want to laugh like a maniac. However, if you're easily offended, don't see this movie. If you're a rabid feminist, don't see this movie. And, please, not matter what, even if you think you're one of those "hip" parents, don't take your kids to this movie. Sure, you should let your teens go see this movie, just don't watch it with them. It would make for some incredibly awkward moments.
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I haven't laughed this hard at a movie in a long time. I got to go to an advance screening, and was thrilled because I had been dying to see it. I had tears in my eyes from laughter throughout a lot of the movie. The audience all shared my laughter, and was clapping and yelling throughout most of the movie.<br /><br />Kudos to Steve Carrell(who I had already been a fan of). He proves in this movie his tremendous talent for comedy. He has a style that I haven't seen before. And Catherine Keener is excellent as always. Thank God there wasn't a cameo from Will Ferrell(love him, but saw him too much this summer).<br /><br />There were parts of comedic genius in this movie. Partly thanks to Carrell, and partly thanks to the writing(also Carrell). The waxing scene and the speed dater with the "obvious problem" were absolutely hysterical.<br /><br />I will definitely go see '40 Year Old Virgin' when it's released. My advice: go to see it for huge laughs and an incredibly enjoyable movie on top of it.
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positive
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Steve Carell has made a career out of portraying the slightly odd straight guy, first on 'The Daily Show', and then in various supporting roles. In Virgin, Carell has found a clever and hilarious script that perfectly capitalizes on his strengths. Carell plays Andy Stitzer, a middle aged man living a quiet, lonely life. Andy is a little odd, but in an awkward nice guy sort of way. One night, while socializing with his co-workers for the first time, Andy accidentally reveals that he is a virgin. His co-workers, David (Paul Rudd), Jay (Romany Malco), and Cal (Seth Rogen) initially tease Andy about his situation. But it's clear that all three have a certain respect for the decent human being that Andy is, and they resolve to help him out by assisting him in ending his virginity. And so begins Andy's quest into adulthood. Andy is the quintessential innocent, and the bulk of the humor derives from his naiveté to the situations he finds himself in throughout the film. Some of the humor is crude gross out stuff, but most of it is just well done intelligent comedy. In addition, I found some parts of the film actually pretty touching as Andy finds himself developing both romantic relationships and friendships perhaps for the first time in his life. I'm not trying to portray the movie as a love story or a drama; it's a rolling in your seats comedy. Still, every good comedy I have ever seen contains enough heart for you to care about the characters. A good comparison would be 'The Wedding Crashers' from earlier this summer. Virgin has a similar humor, but is perhaps a bit more vulgar in some of its jokes. I particularly loved the ending of the film, which I thought was a perfect way to end the flick. Without giving anything away, it reminded me of 'Something About Mary'. Very light and fun; it leaves you laughing and smiling, which is exactly how you should feel when you finish a comedy. I would highly recommend.
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I got a free pass to a preview of this movie last night and didn't know what to expect. The premise seemed silly and I assumed it would be a lot of shallow make-fun-of-the-virgin humor. What a great surprise. I laughed so hard I cried at some of the jokes. This film is a must see for anyone with an open mind and a slightly twisted sense of humor. OK.....this is not a movie to go to with your grandmother (Jack Palance?) or small children. The language is filthy, the jokes are (very) crude, and the sex talk is about as graphic as you'll find anywhere. What's amazing, however, is that the movie is still a sweet love story. My girlfriend and I both loved it. Steve Carell is terrific, but (like The Office) the supporting cast really makes the film work. All of the characters have their flaws, but they also have depth and likability. Everyone pulls their weight and the chemistry is perfect. I can't wait to get the DVD. I'm sure it will be up there with Office Space for replays and quotable lines.
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Something about the 40 Year Old Virgin and the other comedy hit of the summer, Wedding Crashers, is similar, but they are two different films in some respects. Both are romantic comedies that have that kind of over-the-top, crazy sensibility that keeps the teens and guys in their 20's along with the usual dating crowd to go see the films. Both have some sort of formula to the stories as well. But by the end of the 40 Year Old Virgin, I think I found overall it was more satisfying than 'Crashers'. Although one can guess where the relationship story with Steve Carrell's character Andy and Catherine Keener's character Trish will go to, it isn't too basic for one to figure out like with Crashers, and the characters both leading and supporting are realistic, more rounded than most of the one-dimensional or unexplained people in the other. And, perhaps, it may also depend on how much you identify (or just find the lunacy) in both.<br /><br />The thing is some people may go into The 40 Year Old Virgin not knowing Steve Carrell as well as Owen Wilson or Vince Vaughn, as Carrell has built up his cult status on The Daily Show (one of my favorite shows on now) and in small but unforgettably riotous roles in Anchorman and Bruce Almighty. This is his first starring role, but it's not treated like some third rate vehicle. He and co-writer/director Judd Apatow treat the character of Andy with a certain level of sincerity that keeps the audience on his side all the way, even early on as he talks to his action figures while re-painting them. It's also a tricky line to walk on- in lessor hands this could be no more or less entertaining than the Lackluster 40 Days and 40 Nights with Josh Hartnett (also about sexual dysfunction). As the title suggests, Andy is the 40 year old who is like the nice guy friend with still a little Pee-Wee Herman in him (the opening over the credits of his his apartment is hilarious, a good sign).<br /><br />So, his friends (among them Paul Rudd, Romany Mancoy, Seth Rogen, all very good comic foils) try and devise different strategies and tips to finally break the sort of curse over Andy's head to pop his cherry, so to speak. He almost gets with a overly drunk woman, he almost gets with a freaky kind of girl, and almost with his own boss (Jane Lynch, also very funny in the mockumentaries) as a (explitive) buddy. But this soon all starts to fade as he gets into a meaningful relationship with Trish, who works across the street from him. As they build on a relationship not based at all on sex, one might worry that the plot gear of "how is he going to tell her such and such" might get in the way of the comedy. It doesn't. In fact, if anything, Carrell and the cast build on it to a very high degree. For practically an hour and a half of the film's two hour length, there was barely a moment I wasn't laughing, whether big or small.<br /><br />The big laughs though make up for not just any kind of formalities with the plot, or one or two little stray stories (the fellow co-workers have their own relationship problems as well, Rudd's being the funniest). The big laughs come through because of Carrell's reactions, and that the people around him can either back up with their own sort of humor/charm, or that its with some truth. Keener gives a very good performance and makes it so that there is a genuine spirit to their relationship (and, un-like 'Crashers', there isn't as much that doesn't make sense character wise). For someone like me who loves it when a comedian can get laughs just from the way he looks on his face, Carrell gets very high points here. And like with a Farrelly brothers movie, the more raunchy or outrageous scenes are done with total absurdity; the 'waxing' scene (which was done for real, by the way) and the sort of Aquarius musical number towards the very end of the film (the way it comes out at first is a total, uproarious surprise). But if you're willing not to get offended by it, there's more where that came from. This is one of the funniest films of the year.
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Steve Carell comes into his own in his first starring role in the 40 Year Old Virgin, having only had supporting roles in such films as Bewitched, Bruce Almighty, Anchorman, and his work on the Daily Show, we had only gotten a small taste of the comedy that Carell truly makes his own. You can tell that Will Ferrell influenced his "comedic air" but Carell takes it to another level, everything he does is innocent, lovable, and hilarious. I would not hesitate to say that Steve Carell is one of the next great comedians of our time.<br /><br />The 40 Year Old Virgin is two hours of non-stop laughs (or 4 hours if you see it twice like I did), a perfect supporting cast and great leads charm the audience through the entire movie. The script was perfect with so many great lines that you will want to see the movie again just to try to remember them all. The music fit the tone of the movie great, and you can tell the director knew what he was doing.<br /><br />Filled with sex jokes, some nudity, and a lot of language, this movie isn't for everyone but if you liked the Wedding Crashers, Anchorman, or any movie along those lines, you will absolutely love The 40 Year Old Virgin.
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positive
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this is one of the funnier films i've seen. it had it's crude moments, but they were full of charm. it's Altmanesque screenplay, brilliant physical humour, and relaxed friendships were a pleasure to watch, and a slice of life most of us can relate to. and i can say with a measure of honesty that i was afraid for Steve Carell's nipple..i truly was. surprisingly, this is a good-natured, unabashed comedy that is essentially about love, and the many relationships we may find ourselves in along the way. Catherine Keener was terrific as Trish, and all of Steve Carell's friends were flawed but amiable, and so much fun. the idea that they suspected that Carell was a serial killer is a hilarious metaphor for a forty-year old virgin. but the simple truth was that he wanted to be in love first. original, charming, and very funny. highly recommended.
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positive
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All right, here's the deal: if you're easily offended then you might want to stay far, far away from this one. There are some painfully funny moments in the movie, but I probably blushed about as much as I laughed. Actually, I probably blushed MORE than I laughed. And if I wasn't literally blushing on the outside, then I was blushing on the inside. If there is absolutely nothing in this movie that embarrasses you then you simply have no shame. Whether that's a badge of honor or not is in the eye of the beholder I suppose.<br /><br />I will not deny that I laughed quite a bit, but this is a movie that I simply cannot give a blanket recommendation due to its subject matter. If I were to say, "This movie is hilarious, go check it out!" and some sweet, little old church-going lady heads to the theater and has a heart-attack during one of the graphically explicit sex situations, well, that's just something I don't need on my conscience.<br /><br />So how raunchy is it? Hmm, try about 100 times worse than The Wedding Crashers. Honestly. My mom would've walked out during the first scene. I feel it's my duty to at least warn you of what to expect.<br /><br />There is some cleverly intelligent comedy here, but that's what I come to expect from the man (Judd Apatow) who had a hand in both Freaks and Geeks and Undeclared. I'm all for making fun of Michael McDonald; the only man whose hair and beard are white enough to give Kenny Rogers a run for his money. Paul Rudd proclaiming, "If I hear Ya Mo Be There one more time I'll Ya Mo burn this place down," is hilarious, but it's one of those things that the majority of the audience won't appreciate.<br /><br />And when we see a quick 3-second flashback of Steve Carrell singing along to Cameo's Word Up, I laughed for a good two minutes after the joke was over, whereas most everybody chuckled and then forgot about it.<br /><br />Strangely enough, despite the raunch, there's an admirable moral to the story. The movie doesn't portray Carrell as some freaky loser just because he's a virgin. He's really portrayed as a likable, admirable character. Sure, he's a little weird. After all, he has a framed Asia poster, "more videogames than an Asian kid," and a toy collection that features the Million Dollar Man's BOSS, but we're never led to believe that there's actually anything wrong with the fact that he's a virgin. As odd as it may seem, there's a bit of an "it's OK to wait" message.<br /><br />But man, oh man, please be warned that this pushes its R rating about as far as it can go. That was certainly Apatow's intention. According to him, he just let some of the guys (particularly Rogen and Malco) improv and talk the way they normally talk, all in an effort to find lots of new ways to be dirty. If you can handle that or talk that way yourself, then you'll love the movie.<br /><br />I'm not a big fan of excessive profanity and sex jokes. I find that subtle, clever humor is much more entertaining than about 200 uses of the f-word or fratboy sex discussions. But that's me. Like I said, there are some absolutely hysterical moments here, but you have to ask yourself if they're worth sitting through one of the most vulgar movies you're likely to ever see at the theater. I just don't know how interested most women will be in what's discussed by men while playing poker. Honestly ladies, you might not want to know. If you've ever been curious why some girls think guys are gross, well, this gives you a good idea.<br /><br />There you go - my humble, honest take on what to expect. Be that your guide. It definitely should not be seen with your Sunday School class, mama, grandmama, any family members of the opposite sex, children of any age, or anybody who is easily offended by excessive profanity or explicit sex discussion. If you'd see it with any of the above then you apparently do not have any concept of what it means to be uncomfortable.
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positive
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Only once in a while do we get an R-rated comedy that gets everyone's time and attention. It's an even rarer case when the critics will like it. I just came back from The 40 Year-Old Virgin and I can honestly say, it was one of the biggest laughs of my life. I went to a 10:35 showing and every row was filled. Not only that, everyone laughed their ass off the whole time through. It's two hours of non-stop laughing. I dare you to see this film and to not laugh.<br /><br />The plot is simple. A man is forty years old and he is a virgin. Yet, behind this simple, five second joke, we are given a deep, complex story that is not only one of the funniest you'll ever witness, but has genuine lessons behind it. Steve Carell stars as Andy Stitzer, The 40 Year-Old Virgin. We have known Steve Carell, as, in my opinion, one of the best scene thieves of all time. Stealing hilarious scenes from Bruce Almighty and especially Anchorman, Steve Carell has come a long way, as finally, and proudly, is given his moment to shine as the star. No one will forget his name once they witness this pervasively funny, gut-busting, roll-in-the-aisle hilarious comedy.<br /><br />The beauty about the film is it isn't 100% stupid. The brilliant writing of Judd Apatow and Steve Carell genuinely has purpose and it's not just one hell of a story to tell. Behind the crudeness and vulgar non-stop ride of the film comes an important lesson to be learned. Although not presented in the best way possible, the film gives us more than a purely enjoyable time. Its gut-busting attitude will have you laughing the whole time through, while we simultaneously see the real life struggles of people like Andy and his fellow co-workers. The end couldn't have been better. Not only does it deliver what we are promised but it gives one of the most memorable finishing numbers a comedy has ever seen. It would have been perfect if there was Vince Vaughn and Owen Wilson in there cameoing somehow, but you can't win 'em all, now can you.<br /><br />Finally, I think as Roger Ebert put it, Catherine Keener gives an unexplainable perfect performance as Trish, the one woman Andy has his heart truly for. Not only does she also give us laughs but it is crazy to see how brightly she fuels the story. She was cast perfected in the role and her and Carell have terrific, not to mention, hilarious chemistry on screen.<br /><br />Canadian ratings-wise, once again, Ontario slips away with a 14A, while British Columbia, Alberta, and Manitoba all slapped The 40 Year-Old Virgin with an 18A. The same thing happened with Four Brothers, in my opinion, the second best film of the year, and I can honestly say that I love Ontario more and more so for that. To all you fellow teenagers out there in the States: Good luck sneaking in! <br /><br />Overall, Steve Carell gives one of the funniest performances I've ever seen and just about everyone in the cast distributes to the non-stop laughter. Everyone will love the 40 Year-Old Virgin this summer and I encourage everyone to see it as fast as humanly possible. It is the best comedy of the year, hands down. It beats all over The Longest Yard, The Wedding Crashers, and of course Apatow and Carell's last memorable comedy, Anchorman.<br /><br />It is a comic masterpiece and deserves the remarkable amount of praise from the critics who have been loving it. Every single one of my favourite critics loved it and it deserves a spot on the IMDb Top 250 right away. Steve Carell is a huge star. Watch one of the brightest ones of the summer right now.<br /><br />My Rating: 9/10 <br /><br />Objectively 9/10 <br /><br />Subjectively 10/10 <br /><br />Eliason A.
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positive
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THE 40 YEAR-OLD VIRGIN (2005) **** Steve Carell, Catherine Keener, Paul Rudd, Romany Malco, Seth Rogen, Elizabeth Banks, Leslie Mann, Jane Lynch, Gerry Bednob, Shelley Malil, Kat Dennings. Hysterically funny high-concept comedy about the titular Andy Stitzer (wonderfully played by perennial second banana Carell in a truly extraordinarily comic breakthrough performance sure to stratosphere him to the A-list), a tech services rep for an electronics store in Southern California who is found out about his secretive identity by a trio of well-meaning yet entirely clueless womanizing co-worker buddies (Rudd, Malco & Rogen, each one degree funnier than the next) determined to get their friend deflowered no matter the cost. What follows is an unlikely yet very warm-hearted romance with a vivacious mother (the marvelous Keener having lots of fun here) leading to add more fuel to the fires within Andy. A surprisingly good-spirited and unapologetically raunchy romantic comedy; the funniest since "There's Something About Mary" with a shrewdly observant script by director Judd Apatow and Carell that features some astoundingly gut-busting sequences including a scathingly accurate David Caruso joke, homophobic debunking ribbing, send-ups of 'date-a-paloozas' and demystifying the war of the sexes with cheeky aplomb. A true winner and an instant classic; the funniest film of the year.
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positive
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I'm not quite sure if the term "serious comedy" applies to this movie, Im not even sure if this can be applied. On the last few years movie theaters have become filled with comedy movies which are way too stupid to even make us grin. Therefore, I considered the movies which do not fill these requirements as "serious comedies".<br /><br />Does The 40 Year Old Virgin fit into this guild? That is finally up to you, but in my opinion, this is a very funny movie. You get to laugh a lot, plus it delivers a social commentary through some really great characters and situations.<br /><br />I'm pretty there is more than one 40 year old virgin out there, and even the people whom do not exactly fit this specifications, may feel identified by one of the characters in the movie, especially men.<br /><br />The story, as the title says it, is about Andy, a shy, silent guy, whom collects action figures, watches Survivor with his octogenarian neighbors and whose favorite band is Asia.<br /><br />Kal is Andy's co-worker at SmartTech. He believes Andy to be a psychopath until Andy's secret is revealed. Kal is clearly a sexual pervert but yet he seems to get what he wants with the opposite genre.<br /><br />David is the passionate guy who is still in love with his ex-girlfriend, whom ran away with another guy. And Jay, a man in a relationship which seems to be affected by his continuous cheating and getting caught acts.<br /><br />I'm pretty sure most youngsters from 13 to 21 have already watched this film, but it really does not have an age limit to be able to enjoy it. So in case you haven't seen it and will enjoy a little laugh, with social commentary, than go to your video store and rest from those deep and depressing independent films.<br /><br />It also includes DVD bonuses which you'll really see from top to bottom.
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positive
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I was really surprised with this movie. Going in to the sneak preview, knowing nothing about the movie except for the one trailer I'd seen, I thought it was going to be a Dude Where's My Car kind of crap fest. I was expecting bad sex jokes and farting and a pathetic lead character who will get laid in the end because that's just how movies work. Instead I got a smart, surprisingly original movie about a decent, average guy who just never had sex.<br /><br />Yes, the film is chock full o' sex jokes and vulgarity and the occasional hey-look-a-nipple!, but it's done much in the spirit of Bad Santa rather than Sorority Boys. All the characters are people you probably know in real life, redeemable friends who are just trying to hook a brother up and live their lives.<br /><br />I went in thinking this movie was going to be total crap, and I was very surprised. Yea, it's pretty over the top (c'mon, it's a movie about a 40 year old virgin!), but it's very smartly done.<br /><br />In the end, you're really pulling for this guy to get laid, which says a lot about the movie because honestly, did you really care if Ashton Kutcher found his car or not?
| 1
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positive
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The key to The 40-Year-Old Virgin is not merely that Andy Stitzer is a 40-year-old virgin, but rather the manner in which Steve Carell presents him as one. In a genre of crass "comedy" that has become typified by its lack of humor and engaging characters, The 40-Year-Old Virgin offers a colorful cast and an intelligent, heartfelt script that doesn't use its protagonist as the butt-end of cruel jokes. That Andy is still a virgin at forty years old is not as much a joke, in fact, as it is a curiosity.<br /><br />Carell, a veteran of Team Ferrell in Anchorman and an ex-Daily Show castmember, uses the concept of the film to expand his character we get to understand why Andy is the way he is. It's the little things that make this film work. When Andy's co-worker at an electronics store asks him what he did for the weekend, Andy describes his failed efforts at cooking. When Andy rides his bike to work, he signals his turns. He doesn't just adorn his home with action figures he paints them, and talks to them, and reveals that some of the really old ones have belonged to him since childhood. A lesser comedy wouldn't even begin to focus on all of these things.<br /><br />The plot is fairly simplistic Andy's co-worker pals find out he's never had sex and they make it a personal quest of theirs to get him in bed with a woman. It's a childish idea and the film makes no attempt to conceal its juvenility.<br /><br />Andy's friends are a complement to his neurotic nature: David (Paul Rudd) has broken up with his girlfriend over two years ago but is still obsessed with her, Jay (Romany Malco) is a womanizing ladies' man and Cal (Seth Rogen) is a tattooed sexaholic. Their attempts at getting Andy in the sack backfire numerous times, and each time leaves Andy feeling less and less optimistic.<br /><br />Finally Andy meets single mom Trish (played by Catherine Keener) and, much to the chagrin of his worrying buddies who claim mothers aren't worth it, he falls in love with her. They begin a relationship and agree to put off having sex for twenty days Trish being unaware that Andy is still a virgin.<br /><br />The 40-Year-Old Virgin was directed by Judd Apatow, the man who produced Anchorman and The Cable Guy, and began the short-lived cult TV show Freaks and Geeks. Apatow is renowned for his unique sense of humor, and the script co-written by Carell offers plenty.<br /><br />However, in the end the most interesting and (indeed surprising) aspect of The 40-Year-Old Virgin is its maturity. By now you are probably well aware that the film received glowing reviews from the critics, and even I was surprised by its warm reception. But after seeing the film, it's easy to understand why. We like Andy. We care about him. He's not just some cardboard cutout sex-comedy cliché he's a real, living, breathing person. His neurotic traits combine the best of Woody Allen with childish naivety. His friends are not unlikable jerks and his romance is tumultuous and bittersweet. It strikes a chord with the audience.<br /><br />Although this is far from being a perfect movie and definitely contains some rather crude innuendo and sexual humor, it doesn't offend to the extent that other genre entries might have because we have affection for the people on-screen. The best sex comedies work this way from Risky Business to American Pie and that is the major difference between something like The 40-Year-Old Virgin and 40 Days and 40 Nights.
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positive
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''The 40 Year Old Virgin'''made me laugh a lot. I don't care if it is considered to be a very sexual comedy, I just enjoyed many of the jokes and scenes present in this movie. Steve Carell is perfect as the virgin nerd Andy Stitzer and I think the scene where Andy has his chest hair removed by wax one of the coolest, specially because it is real. Many of the actors and actresses present in this movie are well known or already famous,by the way.<br /><br />Andy Stitzer has a peaceful life. He is a little bit strange and collects lots of toys, but seems harmless. One day, while playing poker with his friends of his work, they discover that Andy is in fact...virgin! And he is already 40 years old! After this surprising revelation, all his friends are trying to make Andy sleep with a woman...the problem is the confusions in which Andy gets in,specially now that he is really starting to like Trish, a woman he met when she was buying a DVD player in the store he works at.
| 1
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positive
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