text string | label int64 |
|---|---|
This movie is an incredible piece of work. It explores every nook and cranny of the human mind, focusing on the characters relationships with the people around them. Stellar performances all around. This one had me weeping for about half an hour straight. Spend some real time with this one. | 1 |
This is one of the few movies I watched twice in the theatre. I really love this movie for its atmosphere and its telling of the life of tragic hero Esteban Trueba. He makes so many mistakes but gets a chance for redemption. Isn't this a rather consoling thought?<br /><br />When I watched it for the first time, I thought that after the won election, the movie would be over - I didn't know the book. So boy was I wrong when the dramatic climax was still to come! I was literally swept away by the sheer power of the last half hour of the film.<br /><br />Many people here utterly dislike this movie. I cannot understand that one single bit. Maybe those who read the book first are - as often with screen adaptations of novels - simply disappointed that so many things have remained untold, unseen, unexplained. But as a movie telling a touching story - the story of a family, the rise and fall of a man, the deep compassion of a woman, the strength of love and the insanity of hate (and conservatism) - this movie is simply splendid! Furthermore, the soundtrack is incredibly good and the cast is wonderful as well - especially Winona Ryder and Jeremy Irons.<br /><br />So definitely one of those films that cinema was invented for! | 1 |
Maybe it's because I saw the movie before reading the book, but I really love this movie. I've seen it many many times and will be watching it many times more. It's a compelling story, that's interesting from the beginning to the end. It has everything: action, romance etc. | 1 |
well, i said it all in the summary, i simpley adore the movie and the cast...i would give each actor an Oscar...great, great movie...i'm 25 now and i watched it 4 times in different periods and i always think i won't cry and i always do, about 2 or 3 times...;) meryl s. was absolutely brilliant, jeremy irons also..just brilliant...i wish the movie received more awards... i really don't know anybody who watched it and didn't loved it... also, glenn close was fantastic... the story was beautiful and sad at the same time... i loved the fact that despite everything clara and esteban loved each other so much, and how blanca was close to her parents... | 1 |
Perhaps the best Isabel Allende's book, House of the Spirits describes an alternative chilean history, this one full of magic, a mystic veil, plus some kind of omnipresent sadness. This movie gathers a great cast, plus a great art direction, with a script that cannot contain all this book's quality. It's unusual for a nearly unknown country like Chile to get so well represented as it is by this movie, whose perhaps only sin is to aim too high, and because of that left the illiterate public a little upset, mostly because they understood very little. | 1 |
Can such an ambient production have failed its primary goal, which was to correctly adapt Allende's novel? Obviously yes. Bille August managed to make a superficial, shallow film where basic elements of South American mentality are presented simply as side events, resulting in total incoherency. I can't believe there was a whole production team that could not understand the book! There is of course technical quality in this film and I think the actors did their best with what they had in their hands, but something is missing. And this something was the most important part. | 1 |
I never heard of the book, nor care to read it, but the movie I will probably see many times.<br /><br />This film is unforgettable with perhaps the richest imagery I have ever seen in a movie. It was as if I was looking at paintings many times, which I think was the idea.<br /><br />Terrific movie, story, actors, and cinematography. Full of profound emotions from every angle. Although I am not particularly fond of romance movies, I loved this and was deeply moved by Winona Ryder's plea to her father toward the end.<br /><br />Mr. Irons deserved an award for his performance and Close was never better.<br /><br /> | 1 |
All this talk about this being a bad movie is nonsense. As a matter of fact this is the best movie I've ever seen. It's an excellent story and the actors in the movie are some of the best. I would not give criticism to any of the actors. That movie is the best and it will always stay that way. | 1 |
I think it's one of the greatest movies which are ever made, and I've seen many... The book is better, but it's still a very good movie! | 1 |
Rumour has it that around the time that ABBA the multi-award winning Swedish disco favourites 's star had reached its zenith, the band grew disillusioned with singing in English and yearned to perform in their native tongue. Soon after, problems began to emerge in the onetime-wed locked-watertight partnership and recordings became less and less frequent. The band dissolved, albeit unofficially, in 1982 and pop lost one of its most celebrated artists. Although they have never admitted that there's any truth in those rumours, the fact remains that ABBA would never have been so successful had they only recorded in their native tongue. If you want to appeal to the largest money-making media market in the entire world, then you must cater for English speaking audiences.<br /><br />It's amazing for me how such a small island that's located a stone-throw away from the European continent could have created perhaps the most recognised, although not most widely spoken, language in the world. Everyone speaks a little bit of English; whether it be simply 'hello' or a common swear word - you'll find an English speaker almost everywhere. Pedro Galindo obviously didn't agree, because Trampa Infernal was never subtitled for global consumption until it was released recently on budget DVD. That's a real shame, because it's actually a decent slasher movie that's a lot better than many of its English-speaking genre compatriots.<br /><br />The film launches in the somewhat unfamiliar territory of a pistol duel. Two unidentified characters are shown sneaking around a dilapidated complex searching out one another for the inevitable final showdown. After some suspense and a couple of near misses, one of the pistoleers emerges victoriously. Next we learn that they were only paintball guns and the two competitors are actually youngsters from the local town. Nacho and Mauricio are fiercest rivals and Mauricio is always trying to prove himself to be better than his soft-spoken opponent, but as of yet he hasn't succeeded.<br /><br />Later that night, whilst the victorious gunslinger celebrates his triumph with his girlfriend Alejandra and his buddy Charly, Mauricio enters the bar and says that he has one last challenge for his glorious nemesis. He says that this will be the competition that will prove to the town once and for all who deserves the uttermost respect. Nacho is at first reluctant because Alejandra warns him of the perils of continual competitiveness, but he eventually succumbs to the weight of peer pressure and agrees; much to the distaste of his morally superior partner.<br /><br />They plan to head out to the remote region of Filo de Caballo, because recent press coverage has reported that numerous people have been butchered by what locals believe to be a vicious bear. Mauricio proposes that whoever murders the animal can be regarded as the greatest and he also promises that it will be the last battle that he wages against his adversary.<br /><br />After visiting the armoury to stock up on weapons and ignoring the warnings of the elderly store-keeper, the group set out to the remoteness of the secluded woodland. Hunters become hunted as they learn that the 'bear' is actually a homicidal Vietnam vet who is still unaware that the war has ended and considers all humans as his enemy. What started as a competitive adventure suddenly becomes a battle for survival as they are stalked and slaughtered by the malevolent assassin.<br /><br />I picked up Trampa whilst studying in Madrid from a Mexican student who lived in the dorm room next-door to me. I remember that the copy I watched was faulty and the tape ended about 10 minutes before the final credits rolled, which meant I never got to see the final scenes. Thankfully I came across the budget DVD recently on Amazon and immediately added it to my collection. <br /><br />Gallindo's slasher is a surprisingly good effort that excels from its skillful direction and enthusiastic plot, which attempts to cover areas not usually approached by slasher movies. It is in fact so good that it reminded me on more than one occasion of the Arnold Schwarzenegger classic Predator. This is especially evident in the scenes that show the creepily-masked assassin jogging through the forest and stalking the panic-stricken troupe as they struggle to escape the maniac's playground.<br /><br />Despite Gallindo's obvious awareness of genre platitudes (the bogeyman even uses a claw-fingered glove a la Freddy Kruegar); Trampa also attempts to add something different to the standard template. Whilst the majority of the runtime plays by the concrete rules of the category, the final third heralds a significant step in individuality as the maniac arms himself with a machine gun and entices the hero to his lair for the final showdown. From here on, the film rapidly swaps genres and becomes almost an action film, which depending on your taste will either excite or disappoint you. The last slasher that tried to crossbreed the two styles was that shoddy eighties entry 'The Majorettes', which is not necessarily a good thing.<br /><br />As is the case with many Latin films (especially Spanish flicks by Almodovar and Amenabar), Trampa has a subtle undercurrent of a moral to its story, which is conveyed successfully without being rammed down the viewer's throat. Over indulge in the temptations of competitive masculinity and you may not always be the winner. It's a sugar-coated point, but it's handled delicately enough not to detract from the fun of the feature.<br /><br />Trampa may be cheesy, but it deserves to be seen and recognised as one of the better late slashers. The killer looks great in creepy army fatigues and white Valentine-style mask and the attempts at originality just about work. It may lack the gore that most sincere horror fans enjoy, but it has enough in terms of suspense and creativity to warrant at least one viewing. | 1 |
Talk about a blast opening, "Trampa Infernal" has the coolest opening credits ever! Guided by musical tones that are perhaps slightly inspired by the legendary "Friday the 13th" theme (Tsh-Tsh-Tsh-Ha-Ha-Ha), the names of the lead players appear on screen split up in giant syllables. Promising intro of a totally obscure Mexican slasher/backwoods survival thriller and it only becomes cooler with every minute that passes. Two extremely competitive and testosterone-overloaded paintball enemies challenge each other to the ultimate showdown in a sleazy bar. According to a newspaper article, there's a savage bear loose in the nearby woods and it already killed multiple of the hunters that tried to catch it. The challenge includes that whoever kills the bear will be declared the ultimate macho hero with the biggest set of balls. Upon arrival, however, it quickly becomes obvious they're not up against a bear but a bewildered and utterly maniacal war veteran with quite an arsenal of weapons in his hideout and numerous combat tricks up his sleeve. After a whole decade of tame and derivative American slashers, this early 90's Mexican effort looks and feels very refreshing and vivid. The formula is simplistic but efficient, the lead characters are plausible enough and the building up towards the confrontations with the sadist killer is reasonably suspenseful. The maniac must have been a fan of Freddy Krueger and Michael Myers, as he also uses a self-made glove with sharp knives attached to it and a white mask to cover his face. The murders are pleasingly nasty and barbaric, which I was really hoping for since the awesome aforementioned opening sequences, and waste a whole lot of gratuitous blood. The forestry setting and particularly the camouflaged booby traps are joyously spectacular. "Trampa Internal" is a Mexican slasher/survival sleeper hit that comes warmly recommended to the fans of the genre. | 1 |
I searched for this movie for years, apparently it ain't available here in the States so bought me a copy off Ebay.<br /><br />Four young hunters and three of their girlfriends venture into the woods searching for a bear that apparently has killed several campers. What they find is an ex-Vietnam vet gone crazy (he kills some of his victims using a glove with long metal finger nails a la Freddy Krueger). As soon as the night falls, one of the girls goes for a walk after a brief argument with her boyfriend, she gets killed. After one of the group finds her body, they all hide in their tents waiting for daylight. Once the sun comes up, all of them try and make it out, but fall victim one by one.<br /><br />Seven bodies, not a lot of gore, but a couple of good murders, especially the girls'deaths. The guys get killed in somewhat bloodless ways (blown up in car, shot to death, knife through head). <br /><br />Overall, INFERNAL TRAP is a nice slasher film from the late 80's. Nothing new, just well acted, fast paced and some pretty ladies. 10 out of 10. | 1 |
Four macho rough'n'tumble guys and three sexy gals venture into a remote woodland area to hunt for a bear. The motley coed group runs afoul of crazed Vietnam veteran Jesse (an effectively creepy portrayal by Alberto Mejia Baron), who not surprisingly doesn't take kindly to any strangers trespassing on his terrain. Director/co-writer Pedro Galindo III relates the gripping story at a steady pace, creates a good deal of nerve-rattling tension, and delivers a fair amount of graphic gore with the brutal murder set pieces (a nasty throat slicing and a hand being blown off with a shotgun rate as the definite gruesome splatter highlights). The capable cast all give solid performances, with especially praiseworthy work by Pedro Fernandez as the nice, humane Nacho, Edith Gonzalez as the feisty Alejandra, Charly Valentino as the amiable Charly, and Tono Mauri as antagonistic jerk Mauricio. Better still, both yummy blonde Marisol Santacruz and lovely brunette Adriana Vega supply some tasty eye candy by wearing skimpy bathing suits. Antonio de Anda's slick, agile cinematography, the breathtaking sylvan scenery, Pedro Plascencia's robust, shuddery, stirring score, the well-developed characters, and the pleasingly tight'n'trim 76 minute running time further enhance the overall sound quality of this bang-up horror/action hybrid winner. | 1 |
Seven young people go to the forest looking for a bear.Soon they are all stalked and viciously murdered by a crazy Vietnam veteran."Trampa Infernal" is a pretty entertaining Mexican slasher that reminds me a lot "The Zero Boys".The film is fast-paced and there are some good death scenes like throat slashing or axe in the neck.Unfortunately there is not much gore,so fans of grand-guignol will be disappointed.However if you are a fan of slasher movies give this rarity a look.Mexican horror flicks are quite obscure(I have seen only "Alucarda" and "Don't Panic"),so this should be another reason to see this enjoyable slasher.My rating:7 out of 10.Highly recommended. | 1 |
Tintin was one of my favorite heroes as a kid. I used to borrow the books from the school library every chance I got. My favorite one was "The Red Sea Sharks" - so much action and humor.<br /><br />This documentary was a brilliant exposition of the background story of Herge and his development of Tintin. The film-maker's personal experience in interviewing Herge and the story of his relationship with the artist who was the inspiration for the Chan character was very moving.<br /><br />A great documentary of a very talented and well-loved artist. A great example of someone who has become internationally renown, and has brought joy of millions of children (and the young at heart) all over the world. | 1 |
Imagine that I was about to miss this great cultural event on Swedish TV last night, and it was only because my girlfriend insisted on keeping the TV on (to make it easier for her to fall asleep!) that I came across it (yes I had seen an advert for it previously but of course forgotten about it and looked forward to an 'early night'...).<br /><br />Anyway - this must surely be a rather unusual idea - to base a film documentary on an interview made with sound only more than 30 years ago. But with animated and other documentary film material it adds up to a really good and insightful portrait of one of the 20th centuries' most appreciated literary artists - Georges Remy a.k.a Hergé.<br /><br />I for sure will read my Tintin albums with a different eye after having seen this film, which makes it easier to connect the variations in style as well as content with the different periods in Hergé's life (and I can tell you that I will a.s.a.p get the few that I don't have). Of course my perception of the albums has changed over the more than 25 years that I have already been reading them, as has my view about what albums are my favourites, but this adds (at least) one more dimension to them. | 1 |
"Tintin and I" first of all struck me as a masterpiece documentary. The photography and the editing are truly breath-taking (almost anti-Dogma).<br /><br />We follow the life of Tintin drawer Hergé through an open-hearted interview from 1971. The Tintin series was drawn on the background of the great ideological fights of the twentieth century. In the midst of these Hergé has his own demons to fight with, and much of his drawing activity seems like an attempt to tame these and to escape into a world of perfection.<br /><br />Even though there are spectacular photographic panoramas of drawings from Tintin albums and also some reconstructions and reading of passages from the albums, the story of Hergé is told entirely through interviews and archive material, and never through reconstructions.<br /><br />Hergé lived the turbulent life of a true, suffering artist. But the fantastic world that came of his imagination will continue to amaze readers again and again. | 1 |
If you as I have a very close and long relationship with the world of Tintin....do yourself a favor and watch this beautiful documentary about Hergé and his life creating Tintin. I'ts so brilliant and a very cool production. The whole background story about Hergé and the people and also very much the many different situations he was influenced by, for good and worse is amazing. There is a very fine and obvious connection between the comic books and just this. I will for sure be in my basement digging up the Tintin albums again. Also, the movie itself are very well told and has a great ambient sound to it. I really do hope people will find this as intriguing as I did! | 1 |
This is a brilliant documentary that follows the life of Herge and his creating TinTin. Its based around a series of interviews conducted in 1971, and covers every thing from his early life and "Nazi collaboration" to the final moments of his life.<br /><br />Brilliantly edited, very cinematic and fast paced enough to not get boring. This film will give you a new appreciation for the work of Herge.<br /><br />The film makers make the film more than just another documentary. Using the latest state of the art technology and for a change putting it to good use.<br /><br />Recently more and more documentaries have been making it to cinemas. But this one as to be amongst the best... | 1 |
Some thirty years ago, Author Numa Sadoul published a book length interview with the Belgian comic book artist Georges Remi (better known as Herge, the creator of Tintin). This movie catches up with Sadoul today as he recalls the interview, while we listen to the cassettes (Herge died in 1983) and see some old photos and footage of the man himself. Some parts of the interview were not published in the book at the request of Herge, and we now know these dealt with his separation from his wife, after he had an affair with one of his collaborators (who years later would become his second wife). An interesting thing the movie does not address well is the shift in the Tintin books from the early rightist and imperialist books (Tintin in the Congo, Tintin in the lands of the Soviets) to fairly anti-imperialist books just a few years later (The Blue Lotus). On the whole, I come out of this movie knowing a few more things about Herge and seeing him as a bit more unlikable than when I come in to the theater. | 1 |
Tintin and I recently aired as an episode of PBS's P.O.V. series. It's based on a taped interview of Georges Remi a.k.a. Herge, Tintin's creator, from 1971 in which in discusses his various experiences publishing his popular character, first in a Catholic newspaper, then in his own series of comic books. Awesome sweeping views of various comic pages and surreal images of Herge's dreams. I first encountered Tintin in the pages of Children's Digest at my local elementary school library reading The Secrets of the Unicorn. My mom later got a subscription to CD and I read the entire Red Rackham's Treasure every month in 1978. I remember seeing some Tintin comic books in a local book store after that but for some reason I didn't get any probably because I was 12 and I thought I was outgrowing them. I do have Breaking Free, a book written and drawn by J. Daniels, published in 1989, six years after Herge's death. Haven't read it yet. This film also covers the artist's personal life as when he left his first wife after his affair with a colorist in his employ (whom he later married). Her name is Fanny and she is interviewed here. If you love Tintin and his creator, this film is definitely worth a look. Update: 9/4/07-I've now read Breaking Free. Tintin and The Captain are the only regular characters that appear here and they are tailored to the anti-capitalist views of Mr. Daniels with Tintin portrayed as a rabble rouser with a chip on his shoulder who nevertheless cares for The Captain who he's staying with. The Captain here is just trying to make ends meet with a wife and daughter that he loves dearly. They and other construction workers vow to strike after a fellow employee dies from a faulty equipment accident. The whole thing takes place in England with working-class cockney accents intact. Not the kind of thing Herge would approve of but an interesting read nonetheless. Oh, yes, dog Snowy only appears in the top left corner of the cover (which has Tintin running over the police!) and the dedication page. | 1 |
This is a excellent start to the film career of Mickey Rooney. His talents here shows that a long career is ahead for him. The car and truck chase is exciting for the 1937 era. This start of the Andy Hardy series is an American treasure in my book. Spring Byington performance is excellent as usual. Please Mr Rooney or owners of the film rights, take a chance and get this produced on DVD. I think it would be a winner. | 1 |
"A Family Affair" takes us back to a less complicated time in America. It's sobering to see how different everything was back then. It was a more innocent era in our country and we watch a 'functional' family dealing in things together. The film also marks the beginning of the series featuring the Hardy family.<br /><br />The film, directed by George Seitz, is based on a successful play. Judge James Hardy, and his wife Emmily, are facing a domestic crisis that must be dealt with. Married daughter Joan comes home after she has committed a social blunder and her husband holds her responsible. At the same time, another daughter, Marion, brings home a beau, who is clear will clash with her father. The happy teen ager Andy, seems to be the only one without a problem until his mother makes him escort Polly to the dance, something he is reluctant to do.<br /><br />Needless to say, Judge Hardy will prove why he knows best as he puts a plan into action to get everyone together again. After all, he is a man that understands, not only the law, but how to deal with those outside forces that threatens his standing in the community and what will make his family happy.<br /><br />Lionel Barrymore plays Judge Hardy with conviction. He is the glue that holds everything together. Spring Byington is seen as Emily, the mother. Mickey Rooney has a small part in this film, but he is as always, fun to watch. Cecilia Parker and Julie Haydon appeared as the daughters, Marion and Joan. Sara Hayden and Margaret Marquis are also featured in the film as Aunt Milly and Polly, the girl that surprises Andy with her beauty.<br /><br />"A Family Affair" is a good way to observe our past through the positive image painted of an American family. | 1 |
Jane Austen's Emma is an extremely enjoyable story at the worst of times and this production of the story is the best I have ever seen. Kake Beckinsale's Emma is irreproachable. Gwyneth Paltrow, (with the help of a good screenplay and excellent cinematography) is able to bring out the comedy effectively, she fails to make Emma likeable. Paltrow is not aided by the fact that her hairstyles are simply 'wrong' for the part (and I believe the era) and she looks positively ill in the empire line dresses. Kate Beckinsale, on the other hand, manages the comedy effortlessly and is still able to show what Mr Knightly (the most romantic of Jane Austen's heroes) actually sees in her. Mark Strong is a splendid Mr Knightly with the right mix of handsome looks, an appropriate age, chivalry, compassion and gentlemanly behaviour. Emma and Mr Knightly are supported by a cast of good actors and the production as a whole is quite delightful. | 1 |
This is a better adaptation of the book than the one with Paltrow (although I liked that one, too). It isn't so much that Beckinsale is better -- they are both very good -- but that the screenplay is better. Davies is a master at adapting Austen for filming, and the production values here are very good. It's not quite as glossy as the Hollywood treatment, but it's close, and I thought that the locations and the costumes actually worked better. | 1 |
Kate Beckinsale is excellent as the manipulative and yet irresistibly charming Emma in this TV-adaptation of Jane Austen´s novel. When I read that novel I was sometimes quite doubtful whether the protagonist really deserved to be considered the heroine of the story: for honestly, she is so terribly self-righteous and scheming that one is tempted to dislike her seriously. Kate Beckinsale´s interpretation, however, saves Emma from herself so to speak: she is portrayed with all the innocence and generosity of her character in full view, and one can´t help but give in and like (not to say love) her in spite of her less amiable qualities. Kate Beckinsale is the main, but not the only, reason why this TV-series is so delightful; Raymond Coulthard is perfect as Mr. Frank Churchill, expressing this character´s personal magnetism to the full (which is all the more conspicuous because of this role being not very well handled by Ewan McGregor in the 1996-screen adaptation of Emma), and Mark Strong, Samantha Morton, Bernard Hepton, and Olivia Williams are all as they should be in their respective roles. This production is, in short, a great achievement and one to view many times with increasing pleasure. | 1 |
Of the spate of Austen films from the 1990s, this is my favorite, more even than "Persuasion," which was the one that converted me to Austeniana. Before seeing this "Emma" I had seen two previous versions, but in one Emma seemed all wrong, more like Lady Teazle, and in the other she seemed half wrong, like a possible impostor, whereas here she seemed just right, young and silly and stubborn. In general I thought the attitude and the atmosphere of the production conveyed the charm of the novel exceedingly well; indeed it is one of the sweetest, merriest things I have ever seen, rather in the nature of a Christmas treat. The script is unusually well formed, and the adapter's additions, like the shaft of light that reveals Harriet to Emma in church, are all in keeping. Mark Strong as Knightley is not what I would have expected, but I enjoyed him very much: he strongly brings out the plain-spoken, practical side of the character, in contrast with Emma's affectations, and his choleric outbursts against Frank Churchill are quite funny. Bernard Hepton makes Mr. Woodhouse a figure of almost Carrollian absurdity; Samantha Morton as Emma's protégé is exactly as soft and exactly as firm as she ought to be. And as in the same producers' "Pride and Prejudice," care is taken that the eventual couplings of characters can be believed--uniquely in some cases. For me this production was and remains a delight. | 1 |
I've seen this movie after watching Paltrow's version. I've found that one a very good one, and I thought this would not be as good... but I was wrong: British version was far better and enjoyable! I found Jeremy Northam more "agreeable" than Mark Strong, but I can say that Strong catches much better Austen's Knightley. Anyway, both versions are good,but anyone that loved Austen's books, should watch this movie. I agree with *caalling*: Andrew Davies changed a few things, but still remains faithful to the original.<br /><br />10 out of 10<br /><br />My 2 cents! | 1 |
This has long been one of my favourite adaptations of an Austen novel. Although it is definitely not in the same category as the spectacular "Pride and Prejudice," "Emma" is a lush and relatively faithful TV version of Austen's novel -- especially considering its short length. The biggest change between the novel and the movie is a good one, as the unnecessary snobbishness that Austen exhibits at the end of the story is removed here and replaced with someone much more akin to Emma's character in the rest of the book. I thought the characters chosen to portray the roles were well-picked. Kate Beckinsale walks the fine line between girlishness and the social snob with a grace completely lost in Gwyneth Paltrow's '96 version. Samantha Morton's wispy blonde locks suit her attitude and character as the simper that accompanies her role in previous characterisations is replaced with the Harriet we know from the book. Mister Knightly's role is carried out extremely well in my opinion; both the seriousness and the gentle compassion that the hero is painted with in the novel are present here in this much-neglected, sumptuous film. | 1 |
I've really enjoyed this adaptation of "Emma".I have seen it many times and am always looking forward to seeing it again.Though it only lasts 107 minutes, most of the novel plot and sub-plots were developed in a satisfactory way. All the characters are well-portrayed. Most of the dialogues come directly from the novel with no silly jokes added as in Emma Thompson's Sense and Sensibility.<br /><br />As a foreigner, I particularly appreciate the perfect diction of the actors. The setting and costumes were beautiful. I find this version quite on a par with the 1995 miniseries "Pride and Prejudice" but then the producer and screenwriter were the same. Kate Beckinsale did a really good job portraying "Emma" of whom Jane Austen said she would create a heroin no-one but her would love. She is snobbish but has just enough youth and inexperience to be still likable. Mark Strong was also very good at portraying Mr Knightley, not an easy part, I think, though he has not the charisma shown by Colin Firth's Mr Darcy in Pride and Prejudice. Even the end scene (the harvest festival) which does not happen in the novel provides a fitting end except for when it shows Emma being cold and almost unpleasant with Frank Churchill whereas in the novel she was thoroughly reconciled with him, even telling him that she would have enjoyed the duplicity, had she been in his situation. A strange departure from the faithfulness otherwise shown throughout the film. I find the costumes more beautiful and elaborate than in other adaptations from Jane Austen's novels. | 1 |
It has taken me a while to watch this version as unfortunately I don't seem to be able to rent it in the video store, only the other version but I fell in love with it. I was always borderline with the other Emma. Gwenneth and Toni Collette, as they are not British naturally have to put on the accent, and well to me it doesn't seem natural. It seems put on. Sorry but don't think Toni and Gwenneth did a brilliant job there. I could not warm to any of the characters, but this version is more heart warming and more the type of person I imagined Emma to be. It is definitely the version I will come back to from now on. I was disappointed that Mr Knightley was not better looking, but he is convincing. I also like Jane Fairfax better (played by Olivia Williams). I never warmed to her in the movie version, but she is better portrayed in this version. Come to think of it, (besides Mr Knightley) all characters are better played, and a lot less over the top. Unfortunately both came out around same time and the Paltrow version got more publicity. Pity...... I also love the new scene at the end. Well done to Kate Beckingsale! Therefore, if you are a Jane Austen fan, don't forget to watch this one. | 1 |
Kate Beckinsale steals the show! Bravo! Too bad Knightly ins't as good looking as Jeremy Northam. Mark Strong did a fabulous job. Bernard Hepton was perfect as Emmas father. I love the end scene (which is an addition to the novel-but well written) when the harvest is in and Knightly dines with his workers and high society friends. Emma must show that she accepts this now. She is a changed woman. That is too much too quick, but OK. I'll buy into it. Samantha Bond plays Emma's ex-governess and confidant. She is wonderful. just as I would have imagined her. I believe that when the UK does a Jane Austen its the best. American versions of English literature are done for money and not for quality. See this one! | 1 |
Old Jane's mannered tale seems very popular these days. I have lost count of the number of versions going around. Probably the reason is that her "ruts" are our "ruts" even at this late date. This TV mini-series gives it a mannered telling suitable to the novel. Headstrong, opinionated Emma is a pretty "modern" girl when you think about it, even though the ambience of Jane Austen's world may seem a tad artificial to us today. If you haven't seem EMMA, I'll only say that self-sufficient Emma does get her comeuppance. It's worth watching to find out how. The acting honours here go to the ladies: Kate, Prunella, Lucy and Samantha. They could almost have had a psychic connection to old Jane! | 1 |
i really loved this version of Emma the best. Kate beckinsale was awesome as Emma and mark strong was very good as knightly. the only complaint that i had was on Mr. woodhouse..i can't believe that a man could whine so much or be so selfish with his daughter's life..she was a smart girl in the end though. as always, i love the places in which these Jane Austin movies were shot. the settings are so spectular. it makes me want to visit england so much 9as well as Ireland and Scotland) i think the actors chosen for this movie were a good choice as well and all the other story lines interwhined with Emma's most excellently! i am glad that i got to see this one as well. | 1 |
The minute I started watching this I realised that I was watching a quality production so I was not surprised to find that the screenplay was written by Andrew Davis and was produced by Sue Birtwhistle both of these brought us the excellent 1995 production of Pride and Prejudice! So my only gripe here is that Emma did not run to 3 or 4 or maybe even six episodes like Pride and Prejudice. The acting was superb with I think Prunella scales excellent as Miss Bates but I loved Kate Beckinsale and Mark Strong just as much. The language is a delight to listen to, can you imagine in this day and age having a right go at someone without actually uttering a swear word? Samantha Morton was excellent as Miss Smith in fact the casting was spot on much as it was with Pride and Prejudice. I liked it so much that I watched it twice in two days!! So once again thank you BBC for another quality piece of television. I have seen the Paltrow version and it is okay but I do think the BBC version is far superior. An excellent production that I am very happy to own on DVD!!! | 1 |
This is the best Emma in existence in my opinion. Having seen the other version (1996) which is also good, and read the book, I think I can safely say with confidence that this is the true interpretation and is the most faithful to Jane Austen's masterpiece. The 1996 movie with G. Paltrow is good too, it's just that it's almost like a different story altogether. It's very light and fluffy, you don't see the darker edges of the characters and if you just want a pleasant movie, that one would do fine but the intricacies of some of the plot points, such as the Churchill/Fairfax entanglement is so much glossed over as to be virtually non-existent. But if you want the characters fleshed out a bit, more real and multidimensional, the 1996 TV version is the superior. Emma is a remarkable person, but she is flawed. Kate Beckinsale is masterful at showing the little quirks of the character. You see her look casually disgusted at some of the more simple conversation of Harriet Smith, yet she shows no remorse for having ruined Harriet's proposal until that action has the effect of ruining her own marital happiness at the ending. You see her narcissism and it mirrors Frank Churchill's in that they would do harm to others to achieve their own aims. For Emma, it was playing matchmaker and having a new friend to while away the time with after having suffered the loss of her governess to marriage. For Frank Churchill, it is securing the promise of the woman he loves while treating her and others abominably to keep the secret. In the book, she realizes all of this in a crushing awakening to all the blunders she has made. Both Kate Beckinsale and Gyneth Paltrow are convincing in their remorse but Paltrow's is more childlike and stagnant while Beckinsale's awakening is rather real and serious and you see the transition from child-like, selfish behavior to kind and thoughtful adult. Both versions are very good but I prefer this one. | 1 |
As winter approaches, our state-owned broadcaster, the ABC, has decided for some reason to have a partial Jane Austen Festival on Sunday nights. This commenced with a twelve-year old movie length version of "Emma" last Sunday; more recent versions of three other novels, "Persuasion", "Northanger Abbey" and "Mansfield Park" are to come.<br /><br />The curious thing about this production by A&E Television Networks, with script by the ever-reliable Andrew Davies, is that it appeared almost simultaneously with two much bigger budget movie versions, one starring Gwyneth Paltrow, and "Clueless", a "modernized" version, starring Alicia Silverstone, which transported the plot to Beverly Hills. Perhaps as a result, even with Kate Beckinsale in the lead, this production sank without trace.<br /><br />As a general rule, much is lost when novels are shrunk to fit feature movie length. The adaptations one tends to both enjoy and remember are those which have adequate room to develop both story and characters. An outstanding example is "Brideshead Revisited" which had 13 50-minute episodes back in 1982. You only have to compare the very ordinary movie-length version of "Pride and Prejudice" in 2005 with the brilliant 1995 six-part TV mini-series. It's not that a novel should be filmed page by page, and some novels (often not very good ones) adapt wonderfully to film ("Atonement" is a recent example), but novels of the Jane Austen sort need some time and space to exert their full charm.<br /><br />Given the shortcomings of this type of adaptation, this production is OK. Kate Beckinsale gives Emma the right mix of self-assuredness and vulnerability and Mark Strong is a forthright Mr Knightly (he reminded me that Jane tended to recycle characters Knightly is a more articulate version of the moody Mr Darcy of P&P). Samantha Morton was a rather limp Harriet but Prunella Scales got the blabbermouth Miss Bates perfectly Sybil Fawlty on speed. Bernard Hepton as Emma's feeble father was also excellent. We saw the damp countryside, the mud and the poverty as well as the posh interiors, in case anyone thought this was a particularly idyllic age for everybody.<br /><br />Even though this was a condensed adaptation it was oddly slow in places some of the conversations were rather stilted, even allowing for the formalities of the times. I'd have to look at the film again to be sure, but it might be due to the under-use of reaction shots.<br /><br />If you do like filmed period stuff this is a perfectly nice example, and compares well with the Paltrow version. Anyway, there is more to come! | 1 |
Kate Beckinsale is as good if not better than Gwyneth Paltrow as Emma in this movie, although I really liked Gwyneth Paltrow in the other Emma version. They're both good in different ways. Kate Beckinsale as Emma seems more interesting, almost, though. And I liked the woman who played Harriet Smith in this movie better, too...she was more believably sweet and sentimental. There are certain things I like better about the Gwyneth Paltrow version, though, like how the humorous side is more apparent. | 1 |
I consider this movie a masterpiece, but it took me at least 4 o 5 times to see it, so as to realize what a great movie it was. First, it describes a face of WW2 that we don't usually see in Hollywood movies. In particular, German soldiers, army and the Nazi government are shown more "humanized". One of the facts that impressed me most was the mention, by the end of the movie, of a murder that took place in a forest in the last 20's... that forest is the place where the final chapters of Berlin Alexanderplatz take place: those are the woods where Reinhold kills Mieze. Another clue for those who like the details, is the representation of doors. Fassbinder is obsessed with the changes in people each time they walk across a door, or a door is opened. Many doors are shown in the screen, opened and closed. And the characters change in their personality, their acts, etc any time that happens. Have you noticed that? | 1 |
Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Wilkie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that "Lili Marleen" (1981) belongs to Fassbinder's "women movies" like "The Marriage of Maria Braun" (1979) and "Lola" (1981). Fassbinder was convinced that "stories can be told much better with women than with men", because, according to Fassbinder, while men usually fulfill their determined roles in society, "women are capable of thinking in a dialectic manner". Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play "The City, the Garbage and the Death" (1975) which was filmed by Daniel Schmid under the title "Shadow of Angels" (1976).<br /><br />Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder's dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their "misuse" of the ruling system for their private purposes, because they don't misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because "good" and "bad" are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic. | 1 |
If you are the sort of person looking for a realistic film or one with a strong and believable plot, then this film is NOT for you. Nope--you'll hate it. However, for those who like sweet, slightly screwball comedies, then you'll have a nice time watching this slight film.<br /><br />Tony Randall works for the IRS and he investigates a very nice farmer who never realized he needed to file an income tax return. However hard he tries to convince them of the seriousness of his visit, everyone in the family is thrilled to have company. They dote on him and treat him like one of the family,...and have plans on getting him hitched to their daughter, Debbie Reynolds. That's really about all the plot there is. But the film gets high marks for a fun script and decent acting. A really nice little curio from the late 1950s. | 1 |
Excellent farce! Which, of course, is all it is intended to be. Thankfully there is neither a social or political message, nor is there the slightest attempt in that direction. Could the plot actually take, or have taken place in any particular time or location? Unlikely, for, after all, this is simply, merely, a movie, and movies spring from imagination, not from reality. The only goal of this movie is to entertain, certainly not to educate, and entertain it does, with reality delightfully and lightheartedly tossed to the winds. I think most would agree that from documentaries we expect enlightenment and authenticity. But for entertainment I want what is nowadays described as a "no-brainer," which The Mating Game is in all respects. For a few chuckles and an outright laugh now and then, this is fine fare fantasy. | 1 |
I have always liked this comedy as one of the few ever seriously trying to deal with the U.S. Government's yearly demand for taxes. Ever read a tax code?: it is quite a trial to follow it's multiple clauses that our congressmen and senators push in to help their financial backers and various interest groups. Despite claims that it is fair, the tax code has always laid the lion share of the burden on the middle and working classes rather than the rich and influential. Most of the various special clauses are meant for their use - go through the average 1040 or 1040A form and look at the variety of different investment and business ventures all of which have a different set of rules. Most people will never have any use for these.<br /><br />The story here is that a wealthy landowner (Philip Ober) uses his influence to tip off the IRS that his neighbors (Paul Douglas and Una Merkle) have not payed taxes in 20 years. The Baltimore office of the IRS is under Fred Clarke, and he is snapping to attention for Ober with his influence. He sends Tony Randall to check out the situation.<br /><br />Randall finds that Douglas, Merkle, and their three girls and two boys are pretty decent people, who rarely have need for cash (they get along on their farm produce and barter with their neighbors). But Randall, trained in the clear (to the IRS) lines of the tax code tries to pin down the family to fundamentals. But gradually Douglas notes that Reynolds is fond of Randall, and he keeps sidetracking Randall from his chore, eventually getting him drunk. He also makes it difficult for Randall to leave by having the motor of his car removed "for repairs" by his two sons.<br /><br />The plot follows the growing attraction and frictions between urban, vaguely ambitious Randall, and countryside, life loving Reynolds. They make a cute couple actually. Eventually, after Ober complains, Randall is sent back in disgrace and Clarke (a tougher cookie) gets down to brass tacks. And comes up with a very large tax bill, that will possibly ruin Douglas's family.<br /><br />The film does not end there - it does end happily, but it does remind us that the power to tax is the power to destroy, and that the Government does, all too frequently, go in for destruction. A chance in a million reversal saves the family, but it is so rare that we know it is just a dramatic trick. More realistic is how Clarke's boss, (Charles Lane) cuts to the essence regarding Ober's "help" by suggesting that next year his taxes will be looked at more carefully. After that Ober is rather green. | 1 |
Mating Game is a charming, wonderful movie from an era gone by. Hollywood needs to consider a charming remake of this movie. My wife and I would go see it.<br /><br />It is an excellent romantic comedy that my wife and I watched on AMC.<br /><br />This movie has Tony Randall at his best. Debbie Reynolds is great, as always. <br /><br />Loved it. We plan on ordering on DVD to add to our growing collection of movies.<br /><br />Too bad Hollywood does not make movies like this anymore.<br /><br />Hey Hollywood....time to dig some of these type of scripts out of the old safe, update them a bit (without spoiling the original movie and script as you have done with other remakes), and hold a casting call.<br /><br />A remake would be a big hit on the silver screen, DVD, and on cable/SATTV.<br /><br />SN Austin, TX | 1 |
I saw this movie in 1959 when I was 11 years old at a drive-in theater with my family.<br /><br />Way back then, I thought it was very funny . . . even though I was too young to understand 90% of what makes this marvelous movie such a delight! I saw it again this morning on "Turner South". As I watched it, I was absolutely convulsed with laughter! "The Mating Game" is a unique classic from a by-gone age. If you're too young to have experienced the enchanting period in history that produced this film, I feel very sorry for you. There's no way you can watch movies like this and understand how they can (even today) deliver such a delightful slice of heaven to "old timers" like me.<br /><br />Having said that, all I can do is respectfully request that younger people refrain from commenting on films like "The Mating Game".<br /><br />Movies like this were made for the generation that preceded the current group of your people. And as such, these films speak a very different language than any of you can understand.<br /><br />In other words if you don't understand the issues the film is addressing, please don't embarrass yourself by offering comments which frankly make no sense. | 1 |
"The Incredible Melting Man" is a fantastically gross, trashy and energetic Z-grade production that every self-respecting camp-horror freak simply has to see for him/herself! The ideal way to describe this low-budget 70's gem is like a shameless copy of Hammer's "The Quatermass Xperiment" ...only a thousand times filthier! Astronaust Steve West is the only survivor of a disastrous space-mission, but turns out the carrier of a horrible disease that makes him radioactive and ... causes him to melt! In shock after seeing his face in the mirror (can you blame him?), Steve busts out of the hospital, leaving a trail of sticky pus and fallen off body parts behind. Doctor Ted Nelson has to find him urgently, as the disease also set Steve up with an insatiable appetite for human flesh. The premise may sound utterly stupid but this flick is enormously entertaining and contains great make-up effects from the hand of Rick Baker. The melting dude's face looks like a rotting pizza and his heavy breathing makes him sound like Darth Vader! Another big advantage is that William Sachs' screenplay doesn't waste any time on tedious scientific explanations or emotional speeches. The repulsiveness starts right away and lasts until the very last moment of the film. Just enjoy this silly horror gem and try to switch off your brain activity as much as you can because, if you start contemplating about the many stupidities in the script, you'll miss out on all the campy fun! | 1 |
First off, anyone looking for meaningful "outcome oriented" cinema that packs some sort of social message with meaningful performances and soul searching dialog spoken by dedicated, emotive, heartfelt thespians, please leave now. You are wasting your time and life is short, go see the new Brangelina Jolie movie, have a good cry, go out & buy a hybrid car or throw away your conflict diamonds if that will make you feel better, and leave us alone.<br /><br />Don't let the door hit you on the way out either. THE INCREDIBLE MELTING MAN is a grade B minus regional horror epic shot in the wastelands of Oklahoma by a young, TV friendly cast & crew, and concerns itself with an astronaut who is exposed to bizarre radiation effects, wakes up in a hospital, and finds that his body is liquefying on him as he sits there feeling like a chump. The melting man is played by one Alex Rebar, who is recognizable for about the first four minutes of the film. But once he starts oozin' with Rick Baker's extraordinary special effects makeup he more resembles something you might find in a tin of spam before you drain off all the runny, viscous blebs of grease.<br /><br />The film has zero exposition and does not bandy about with plot points: There are a couple of scenes involving scientist types riding around on an absurd industrial conveyor machine who dutifully recite a few obligatory lines about the effects of radiation but the movie does not care, really. It's a freak show and a marvelous one at that with a decidedly sick sense of humor for those who can stomach it -- One great laugh comes when the melting man stumbles upon a young girl in the forest and is so at a loss for what to do that one of his eyes pops out. Hilarious.<br /><br />The "hero" of the film is played by Burr DeBenning, a fascinating character actor from the golden 1970s & 80s television scene who was sort of an early model for the Kevin Spacey prototype; slightly twisted, neurotic, and one step ahead of most everyone in the room even if he looks confused. He appeared just after this movie was made in a bizarre made for TV anthology horror piece called HOUSE OF THE DEAD (or THE ALIEN ZONE) that is regarded as one of the finest movies ever made in Oklahoma, which is where I suspect this film was made as well. The arid, cold looking rural midwestern landscapes are certainly the same, and the creek that one unfortunate fly fisher chooses for his afternoon of sport appears to be the same one that Cameron Mitchell fought off flying alien pancakes in WITHOUT WARNING ... which also had a sick sense of humor, a TV friendly cast, and some pretty outrageous gore. I definitely sense at least an aesthetic connection between the three movies, as well as THE SILENCE OF THE LAMBS which is of no surprise considering that director Jonathan Demme is a part of MELTING MAN's cast.<br /><br />Essentially, as others have pointed out, this is a 1950s B movie plot updated for later 1970s era special effects & the inevitable boobs. The movie it probably borrows most of it's ideas from is PHANTOM FROM SPACE with Peter Graves as an astronaut who also returns to Earth after being exposed to funky radiation effects that set him off on a killing spree. One of the things that I actually admire about the film is that absolutely no regard is given for the melting man's motivations: He simply goes on a rampage and the movie's drama comes from wondering if he's going to fall to pieces before certain characters fall victim to his madness. The budget for the film is also delightfully low and every dime spent on it is up there on the screen, Rick Baker's disgusting effects getting the lion's share of whatever was spent on this.<br /><br />Sick, disgusting fun best enjoyed with a crowd of friends and plenty of beer. Why can't people have made more movies like these? <br /><br />8/10 | 1 |
Astronaut Steve West (Alex Rebar) and his comrades undertake a space mission that sees them flying through the rings of Saturn. His comrades are killed instantly, but it would seem that they are in fact the lucky ones. Steve returns to Earth a constantly oozing mass of humanoid pulp; as he turns into a savage killer, melting every step of the way, he is tracked by his friend, Dr. Ted Nelson (Burr DeBenning).<br /><br />This is often so uproariously funny - with enough absurd lines and situations to go around - that it's hard for me to believe that the laughs are all unintentional. It seems to me to be kind of a goof on low-budget genre efforts from the '50's and 60's, and as such, it's a marvelously entertaining movie. That sequence with the nurse is simply hilarious. We're even treated to a split screen sequence that doesn't really add anything, but is still a gas to watch.<br /><br />Writer / director William Sachs deserves credit for coming up with this ingenious idea; his ultra-slimy character is a memorable one indeed. I think his pacing is a little off; some scenes (like the one with the elderly couple) go on a little long, but ultimately he delivers solid, schlocky, B-movie goods with a degree of panache. The climax is especially fun.<br /><br />Arlon Obers' music is enjoyably shuddery (yet also amusingly silly during some moments), and Willy Curtis's cinematography creates some really great shots at times. That brings me to Rick Bakers' fantastic and convincing makeup effects, which form a highly respectable centerpiece for the movie, right down to the ultimate final melt.<br /><br />Rebar is under the heavy makeup for almost the entire movie (Sachs also gets my praise for having the movie hit the ground running) and does what he has to do well enough. DeBenning makes for a rather oafish and silly hero, and Ann Sweeney isn't so hot either as his wife, but Myron Healey, Michael Alldredge, and Lisle Wilson are fine in support. It's also worth it to see folk like Cheryl "Rainbeaux" Smith (doing an appreciable topless shot), Janus Blythe (of Tobe Hoopers' "Eaten Alive" and Wes Cravens' "The Hills Have Eyes"), and even director Jonathan Demme in a bit part.<br /><br />This is a highly entertaining midnight movie with enough gore, chills, and laughs to rate it as worth catching for lovers of low-grade sci-fi / horror everywhere.<br /><br />8/10 | 1 |
As a collector of movie memorabilia, I had to buy the movie poster for this film which, now that I've finally seen it, has to be the best thing about it. There's nothing more attractive to hang on your wall than a 27x41 inch image of the melting man. However, there's nothing more awful to put in your VCR than an hour and a half long image of the melting man. At first I thought this movie was pure garbage but then I realized that it did have some qualities which made me laugh. The character of Dr. Ted Nelson has to be the most wishy-washy persona ever brought to the big screen. His dialogue is so trite it's unbelievable! ("It's incredible! He seems to be getting stronger as he melts!)<br /><br />And could somebody tell me please how the heck they know exactly how much time Steve has left before he melts completely and exactly what their plan is to "help" him? If this movie was meant to scare its audience, I think it missed its calling. | 1 |
Thanks to this fungal film I do NOT want my Maypo, can't stomach the thought of Maltex or Wheatena, and even that granola over there doesn't look so innocent anymore! Why wasn't the song "Slop Time", by the Sherrys, used as the theme? | 1 |
THE MELTING MAN...a tragic victim of the space race, he perished MELTING...never comprehending the race had LONG GONE BY...!<br /><br />A man (Burr DeBenning) burns his hand on the kitchen stove. But instead of screaming something a NORMAL person would scream, he shouts something that sounds like "AAAAATCH-KAH!!" This movie you've popped in...isn't a normal movie. You've just taken your first step into THE INCREDIBLE MELTING MAN, the famous late-70's gore film featuring Rick Baker's wonderful makeup effects. Baker was just on the edge of becoming a superstar, and did this at the same time as his famous "cantina aliens" in STAR WARS. For some strange reason, STAR WARS became a household name, and INCREDIBLE MELTING MAN did not. <br /><br />It might have something to do with the fact that this movie is just mind-numbingly awful. From the opening credits ("Starring Alex Rebar as THE INCREDIBLE MELTING MAN"...that's really what it says!), to the chubby nurse running through a glass door, to the fisherman's head going over a waterfall and smashing graphically apart on some rocks, this film provides many, many moments of sheer incomprehensibility. "Why did they...but how come he...why are they...?" After a while, you give up wondering why and watch it as what it is--a very entertaining piece of garbage.<br /><br />An astronaut returns to Earth in a melting, radioactive condition; he escapes and, his mind disintegrating as well as his body, begins a mad melting killing spree. The authorities quickly decide that the melting man must be stopped, but (probably not wanting to "cause a panic") want him captured as quietly as possible. So they send one guy with a geiger counter after him. Wow.<br /><br />Storywise, surprisingly little happens during the movie. The melting guy wanders around killing people. A doctor searches for him with a geiger counter. Various characters are introduced, ask questions, and leave. Eventually the doctor catches up with the melting man, but is shot by a security guard for no reason, after he explains that he's "Dr. Ted Nelson." The melting man wanders off and finally dissolves into a big puddle of goo. The End.<br /><br />It's so brainless that it somehow ends up being a lot of fun, despite a fairly downbeat ending. Supposedly, a widescreen DVD release is planned. A very special movie. | 1 |
To me there is something so appealing and nostalgic about low-budget sci-fi. As a kid in the 50s thats all there was. In 1957 I saw "The First Man Into Space" in a movie theater with my Dad. It had Marshall Thompson starring and some other poor slob who got the title role. It is also about a space mission gone bad where the astronaut turns into a grizzly killer. Scared the Good & Plenty right out of me. The memory of those heebie-jeebies still lives within me. The Incredible Melting Man is almost a re-make only in full glorious color...that is wherever the scenes were well-lit. Just gotta love it for what it is......a little over an hour of darkly lit scenes, disgusting noises, and that eerie music. Bravo ! | 1 |
I must admit I'm a little surprised and disappointed at some of the very negative comments this film seems to provoke. I think its a great horror/sci fi film. Colonel Steve West (Alex Rebar) returns to Earth after an historical space flight to Saturn. While in space he contracted some bizarre and unknown disease. He wakes up in a hospital bed, he looks in a mirror and before his very eyes his face is melting! Escaping the hospitals supervision, he hides out in some local woods surrounding a small town. Unfortunately he starts to develop a rapidly growing hunger that can only be satisfied by eating other people. He must feed on human flesh and drink the blood of others to survive! Stalking human prey he begins his reign of terror! Its up to his old friend Dr Ted Nelson (Burr DeBenning) to find him and try and help him. He has to work alone as his boss General Perry (Myron Healey) wants it kept ultra quiet. Nelson can't even tell his wife Judy (Ann Sweeny). However, Sheriff Blake (Micheal Alldredge) becomes suspicious as General Perry turns up just as some of the local townspeople start turning up half eaten. I don't really understand why this film gets such negative reviews, what do people expect? Anyway, I really like this film. The star of the film are unquestionably Rick Bakers Special Make-up and gore effects which for the most part are excellent, and the fact their all prosthetic effects and no rubbish horrible CGI makes them even better. Writer and Director William Sachs isn't afraid to use them either, we get some nice long lingering close up shots of the incredible melting man and they hold up very well, even now. Photography, music and direction are a little bit dull, but professional enough. The script manages to create some sympathy for the the monster, shots of him looking longingly into Ted Nelsons house, or when he sees his own reflection in some water and reacts violently. The ending, set in a large factory of some sort, is pretty downbeat so don't expect any happy ending. Which surprised me. Also, the script doesn't really do anything with the premise, he just walks around melting and killing, with his friend trying to stop him, maybe a bit too simple. Personally I think the worst bit of the film is near the start when the fat nurse runs down a hospital corridor in slow motion, her screams are also portrayed in slow motion too, it looks and sounds totally ridiculous! You need to see it to believe it! I like this film a lot and recommend it to 70's and 80's horror/sci fi fans. A bit of a favourite of mine. | 1 |
I searched out this one after seeing the hilarious and linguistically challenging "Clueless" (1995), perhaps Alicia Silverstone's best known effort from early in her film career. "True Crime" has Kevin Dillon, which should be helpful in improving most film projects. In fact everyone in the cast does a good job . The only disappointment I think the movie has for me is an awkward "feel" to some of the scenes, coming from the need to run a quite uncompromising, grown up theme as part of what in tone starts out as a schoolgirl adventure.<br /><br />Alicia Silverstone is pretty good in this one. She carries off well the naive enthusiasm and growing unease that affects Mary Giordano as she manoeuvres towards the truth behind the serial murders. I reckon her characterization of MG has some mileage in it too. The inference of the story line is that she goes on to a career in law enforcement. It could be really interesting for an older Silverstone to revisit Giordano at a time of crisis later in the officer's life. Just a thought!<br /><br />"True Crime" shows its director in a good light. Pat Verducci also has the writing credit. I don't know of any other film work PV has done. I can only wonder what happened after such a promising start.<br /><br />Like most productions, this one has a largely unknown supporting cast, although Bill Nunn (Detective Jerry Guinn) is hardly that. Over the past decade he seems to have been able to secure an impressive number of screen appearances. I recall seeing him recently in "Carriers" (1998), a made for TV presentation with a military theme. Bill Nunn played "Captain Arends". Fans of the classic US TV comedy show "Who's the Boss" may also have an interest in "Carriers" because the leading player is Judith Light, remembered with affection by many because of her lengthy involvement with the show.<br /><br />"True Crime" could easily not have worked, but it does OK. I think it is an entertaining story worth seeing. | 1 |
This is the best made-for-TV movie of all-time! Am I saying this because I'm a huge Silverstone fan? Partially, but even without her, I'd still see it. I'm a fan of serial killer genre films, and believe this to be a great entry in that category. Also, Mary Giordano easily ranks among Alicia's top five character creations. Totally memorable - like she really exists. I'd have her on my side, too, if there was a mystery to be solved. She plays the character, like she does with her real life, with complete confidence in everything she does. Seems sweet, honest, nice...just like she is in real life. So is that acting? Yes, indeed, she's sort of a rebel once again. This time she's not bad, she's too good and a bit afraid to do things that seem above the law. But she doesn't do things the normal teenager would do. Instead, she spends her time reading detective mags and solves crimes. A cliche abounds: she's sort of avenging her father's death, in a different way than vigilante-style. At the time, Alicia seemed to be playing the same characters: rebellious, seductive, without a parent, a loner. This happens here, too, but she's a bit nerdy this time around. That doesn't matter; she's still cool as a nerd. Check this out soon, or else Giordano will be investigating why you haven't... | 1 |
I have seen this movie and even though I kind of knew who the killer was from the beginning I still liked watching it. I would recommend it to other people. It comes on Lifetime movie network quite a lot. And I am thinking since it's close to Halloween they might play it more. So please be on the look out for it if you are interested in watching it. I believe that Alicia Silverstone played her part very well. I really like her as an actress and person. She seems so nice and down to earth. Kevin Dillon he's performance was so so for me. I am not trying to knock him or anything but I believe that his brother Matt would have been able to pull this bad evil serial killer persona better. Kevin just seems too sweet for me. But I think he did okay. | 1 |
i got to see the whole movie last night and i found it very exciting.it was at least,not like the teen-slasher movies that pop out every now and then.the search for the killer and the 'partner' relationship between the hero&the so-called bad guy was parts i liked about the movie.also,i remember once being on the edge of my seat during a specific scene in the movie.i mean it's exciting.maybe some time later,i might watch the movie again... | 1 |
I saw True Crime when it was first released back in the mid-nineties and I have watched it many times since. It is a great mystery about Mary (played by Alicia Silverstone), a high school senior in a California town who's classmate's younger sister was tortured and killed by an unknown murderer. Mary meets Tony (played by Kevin Dillon), a police cadet who sees how bright she is and they decide to work together to try to find the killer.<br /><br />Many suspects in this one. True Crime feels very "true" or real to me. I read a newsgroup review where someone wrote that total suspension of disbelief is present here and it is so true. Alicia Silverstone is perfect in this role and Kevin Dillon and Bill Nunn do a great job, as do the other actors. The locations are right on and the writer/director, Pat Verducci, really captures some of the realities of teenage life and of Mary's loneliness (see the scene where Mary awakens from the dream sequence after having viewed the photos she took of Tony). I wish Verducci would make more movies.<br /><br />I have not seen any other movie quite like True Crime. 10/10 | 1 |
i thought this movie was wonderfully plotted it made me confused and my cousin who watched it with me.to tell the truth i think that the younger kevin dillon was hot.hahahaha...but i also thought the girl was stupid to go along with the cop and that was wrong what he said to her before his death"i was inside you".i think that's what she gets for doing what she did with him and how is he going to tell her that she's too young when he never cared how old the other girls were.?now i don't think i myself could ever trust a cop like that.but to tell the truth it was pretty obvious it was him even if he was wanting to become a cop i would still be suspicious of him either way.and that was funny when she sprayed him in the eye in the store.hahahahaha.she was still stupid for going into the warehouse again by herself and so was the cop who died HELLO!! it's called back-up.sometimes these movies make me mad when people act stupid and do stupid things.but that's what i think an thought about the movie. | 1 |
This is a nice piece of work. Very sexy and engaging enough plot to keep my interest throughout. Its main disadvantage is that it seems like it was made-for-TV: Full screen, and though there were several sex scenes, there was absolutely no nudity (but boy did it come close!). Strange, too, since Netflix shows that it was rated R.<br /><br />Nonetheless, very titillating, and I wish Alicia Silverstone made more movies like this.<br /><br />One Netflix reviewer stated that it was part of a series, but I have been unable to find out what series that is. I'd like to find out, though, because this movie was THAT good.<br /><br />Walt D in LV. 8/23/2005 | 1 |
Very good drama about a young girl who attempts to unravel a series of horrible crimes. She enlists the aid of a police cadet, and they begin running down a series of clues which lead to a traveling carny worker with a long police record. An ending which is guaranteed to keep you on the edge of your seat. | 1 |
Set in Japan, Ashura is the story of Demons taking over the earth. The premise is far more complicated, but the arching storyline should not be forgotten. Japan is in turmoil, with Demons occupying human form roaming the lands. Generally speaking Demons look and act like humans, but are evil. The Japanese word they use is not just demons, but rather the classical form of 'ogre' which is a mythological creature of some historic stature. We're talking about creatures that would appear more like gods than simple ugly child-eating monsters.<br /><br />However in human form all that remains is the green eyes and green teeth, which appear when put under any sort of stress. In order to save the world from Demons there are Demon-slayers. Trained and skilled warriors who can spot and defeat most every kind of demon, and who guard the passage-way between the realm of hell and that of the real world. These are the basic premises.<br /><br />The story begins with a festival in a local town. Amid these festivities, 3 men ride in, dressed in all black, seemingly intent on doing harm. The villagers run, excepting those which are demonic in nature, who turn green-eyed and try to kill them. The Demon-Slayers end up killing off the majority of the demons. From here the story gets interesting. The whole essence of the story begins when at the gate to hell a fortune-telling demon appears before the 3 gate-keepers, revealing the arrival of Ashura. With it, comes the end of the reign of man, and begins the reign of demons. Ashura however requires some form of birthing process, the first step of which occurred during the opening battle, but which won't be revealed to you until you see the film. The 3 demon-slayers are a wise old man, a powerful yet unprincipled man, and a skilled and compassionate warrior. Immediately you can see the split between them, the old man wanting to stop the demons, the powerful one wanting to bend them to his increasing ego maniacal wishes and the third looking to stop the second. Along the way he meets a woman who he begins to take fancy to, and believes himself to have a special relationship with. She in turn is a brigand who is good-natured, sought after by authorities. When the two finally meet face to face, he places his hand on her shoulder, and suddenly she is scathed by a mark on her shoulder. Needless to say, the mark is not a good sign. What ensues is a battle for earth, a battle between both good and evil, as it should be, but also between good and good itself.<br /><br />The point for me of this film became something other than what I thought it would. I came in thinking it would either be a fast-paced action style film with demons, or a horror film with macabre evil and foul creatures the likes of which would be seen in Ringu and Ju-on. I was however mistaken in the best possible way. The story it seemed to me is an adaptation of a very old Japanese play, and it plays itself out as such, combining the essentially action driven adrenaline scenes with a great concept, an amazing narrative, and a style which makes you compelled to think rather than just sit wallowing in gore. Many scenes are painted with luxurious dialogue between two characters the likes of which will never be seen in a Hollywood film. It becomes a practically theatrical experience which takes your breath away.<br /><br />The film makes use of some immaculate scenery and camera-work comparable to many great Samurai films of our days, but adding to it a well-thought and classical plot. With great acting, great music, and thoroughly stunning scenes, its a must watch in my book.<br /><br />That being said, it does need the disclaimer that it is not for everyone. Its not cheap thrills horror, its not balls to the wall action. Its a horror style play thats been filmed. It has very much to say and takes the time to do so, flying in the face of the conventional one-liners. Like Japanese plays, the exchanges between the characters can last for many minutes before they come together for a quick yet marvelous battle scene. If you can enjoy such a thing, this is a masterpiece. If your idea of a good film is slasher flicks with little plot and excessive nudity, then you can easily watch something else.<br /><br />Overall, this film to me is a unique and amazing one, which keeps you riveted and amused. it has good writing, good acting, and good direction. It is all in all a solidly great film. | 1 |
Japan is in serious trouble. Demons have infested Edo, taking possession of earthly forms and bending them to their unholy will. On top of that, the rebirth of Ashura, Queen of the demons, is nigh. The only thing that stands against this grave threat are the Demon Wardens, a fearsome group of warriors, who might just be as bad as the demons themselves.<br /><br />Izumo is a retired Demon Warden, who five years ago, took up theater instead of Demon Slaying after accidentally killing a innocent child (In a battle that's strangely reminiscent of the bar scene from Dusk till Dawn). One night by a chance encounter he meets a beautiful and mysterious woman named Tsubaki. Their fortunes intertwine (literally) and they are bound by fate to be lovers and enemies.<br /><br />If you think this sounds like your typical Japanese Fantasy/Swordplay epic, you'd be wrong. In fact, there's nothing typical about Ashura. It is a hodge-podge of many different genre's of film. Those just mentioned, as well as a comedy, drama, and romance. Director Yojiro Takita (Onmyoji) juggles the genre's fairly respectfully (Although, the comedy seems forced in some scenes) and the end result is a ridiculous, but really fun popcorn movie.<br /><br />To be sure, there are flaws in the film. Some of the humor seems contrived, and out of place. And the acting isn't the greatest. But seriously, do you watch Fantasy/Swordplay/Comedy films for the great acting performances?? No, we watch them for the action and the crazy CG visuals, all of which Ashura has in Spades. Not to be misleading, the film is not all action, but it is spaced out generously enough with lots of swordplay and buckets of green blood to keep the average viewer happy.<br /><br />Bottom line; the films has it's faults and is not a martial arts epic, but it doesn't try to be and it features interesting visuals and good swordplay action. The reason the film worked for me is that it never takes itself too seriously and if the viewer does the same, their sure to be delighted by this fun and silly swordplay fantasy action flick.<br /><br />My Rating 7 out of 10. Fun popcorn movie. | 1 |
I went to see Ashura as 2005 Fantasia Festival Kickoff. Man, that was one cool kick off. The director was supposed to be in Montreal for the Canadian premiere, but due to health reasons, he's still in Japan...oh lord I hope he gets better and makes plenty of other movies.<br /><br />The plot is pretty simple, but somewhat original...the demons are roaming in Edo in Japan and Swordsmans called "Demon Wardens" are slaying them and fearing the rebirth of Ashura, the demon goddess who's sleeping and supposedly is very kick-ass.<br /><br />It brings us to Izumo...some kind of elite swordsman called "Demon Slayer" and his buddy Jaku who's the typical violent jealous asshole...<br /><br />Seems boring? Well now it thickens....<br /><br />Izumo took his retirement from killing demons since he slayed a young kid on the "impression" that he was the demon, he never knew, but he did killed her. So Izumo went on with his life and recycled himself in Kabuki theater. In a boat joyride on a nice night, Izumo spots a girl hiding on a bridge and it changes his life and restart to slay demons...for the good cause, the cause of love...and damn...the guy knows how to handle a sword and to pull an entertaining massacre.<br /><br />Izumo carries the movie as far as playing goes...he is the total package...he knows how to fight(hell yeah he knows), he's witty, he's intelligent and he has that grit. You never have to yell :"NO IZUMO, IT'S A TRAP" The guy already knows it he has that common sense. He's really the perfect hero.<br /><br />As far as cinematography goes, the esthetics are pretty interesting. It's by far, the movie that looks the most like a manga. It's creamed full of special effects and nothing, at all cost will prevent this movie to look realistic...it's pretty amazing. Lots of colours an "unreal" photography, other than that...it's pretty straightforward...but like I said, the main character is carrying the movie A must see, a tale lead by masterful hands | 1 |
The movie only enter the cinema in Indonesia this year (2007), two years after it's official release, and after many illegal DVD's had found its way to the public. Apparently the popularity of the illegal DVD's lead to the release into the theaters, with still public coming to watch.<br /><br />The movie is a great epic, bringing Japanese culture into your house in an exiting way. In a sometimes humorist way, the story is told about a theater writer who writes a story for his theater, since the regular Kabuki theater plays is something he finds boring.<br /><br />At first, the audience might be a little bit confused about which story we are following, but when the story unfolds, we see that the love between a male human and a female demon leads to a great story for a new Kabuki theater piece.<br /><br />The audience is left in the dark if this is a story that is supposed to really have happened in Japanese traditions and mythology, but that doesn't matter.<br /><br />The way the story is told with a love for theater, expression, vivid colors, humor and tragedy, makes this a great ride on the roller-coaster of Japanese cinema as well as theater.<br /><br />Let yourself go completely when you watch this movie, try to see it in a cinema instead of on your television at home.<br /><br />One critical point though: the soundtrack is sometimes a little bit annoying. Though most of it is great music, there are a few moments in the movie that I think they should have chosen some more dramatic music. But maybe the fact that the story contains moments of humor made the director choose for lighter moments in music as well. | 1 |
I loved this movie from the opening sequence right through to the end. I found the director/ actor's style of directly addressing me/the audience very engaging.<br /><br />What I found most exciting and refreshing about this movie was its ignoring -- and thus challenging -- of gender and class stereotypes. The idiosyncrasies of the characters are portrayed as strengths, and the absence of judgment -- and the characters' acceptance of themselves and each other -- enabled me to embrace them and allow myself to be drawn into their world. Without preaching, and with intelligence and gentle and loving humor, this movie has the power to open us to new possibilities, and offers hope for a world in which people see and accept each other as unique and precious individuals. I look forward to more offerings from this creative and talented director. | 1 |
This low budget digital video film has strengths in the right places--writing and acting. In addition the digital photography is the best of the lot so far. In low light conditions the characteristic video umber tone prevails but, surprising, it rivals film stock for brightness, clarity, and, saturation in brightly lit situations. This is grass roots film making at its best with snappy dialogue carrying a "Midnight Cowboy" kind of story about grifters doing whatever it takes to survive in urban San Francisco. | 1 |
A great and truly independent film that hit most of my emotions and carried me into another world. Isn't this why we go to the movies? I was especially impressed with the editing and the music, the combination of which was very transportive. | 1 |
What is so taboo about love?! People seem to have major problems with the transgenered.<br /><br />The title of this movie didn't catch my eye. It was a grainy shot about 4 minutes into the movie is what made me stop channel surfing. I could not believe how freaking amazing this film was. It touches on so many levels of human emotion that it did not once fail to move me in some way. It is by far one of the best independent films I have ever seen. I did not view these characters as either gender, just human. I would recommend it to anyone who loves movies. Especially independent films. Praise to all fearless filmmakers! | 1 |
By Hook or By Crook is a tremendously innovative film from a pair of immensely smart and talented filmmakers, Harry Dodge and Silas Howard. They manage to tell an original story in a distinctive cinematic style, and it's beautifully shot by Ann T. Rosetti, and wonderfully written -- truly poetic. <br /><br />The lead characters are true heroes and serve as a rare kind of role model/inspiration for butch dykes and trannies everywhere. This film has so much energy, so much poignant passion and scruffy San Francisco heart to it. I can't recommend it highly enough! <br /><br />The best butch buddy movie of all time! | 1 |
people claim its edited funny but they had to cut it down substantially in post production. i have harry as a professor right now at ucsd, and honestly its one of the best classes I've had, its rather funny to here about what happened in making the film cause harry is so animated. i originally watched "joy of life" for another class where harry did a voice over in the film, and started watching this film after i started the class. Harry originally did some performance work, and is really genuine about creating moments that move you, especially when you have to re edit things until you hit on that moment, but its something you see in this film. | 1 |
I was very impressed with this small, independently made picture. The story, about a pair of social outcasts who meet, become friends, and provide each other with a support system both seemed to lack as children, is at times hilarious, at times sad, but always provocative. Music, mostly by underground bands, was used to great effect, as was the experimentation with camera angles, filters, and slow or fast motion techniques. The performances (the leads are played by the writers and directors of the film) are some of the best I've seen in the last couple of years. If you ever felt like a square peg being forced into a round slot, I really believe you'll appreciate "By Hook or By Crook". | 1 |
These are excerpts from a nine-page "Memo to Mr. Cohn from Mr. Welles", written after Orson had seen studio mogul Harry Cohn's edited version of the picture (he took an hour out): <br /><br />"...The preview title music was written by a first rate composer, George Antheil. Although not written for our picture at all, this temporary title music had an atmosphere of darkness and menace combined with something lush and romantic which made it acceptable...The only musical idea which seems to have occurred to this present composer (Heinz Roemheld) is the rather weary one of using a popular song--the "theme"--in as many arrangements as possible. Throughout we have musical references to "Please Don't Kiss Me" for almost every bridge and also for a great deal of the background material. The tune is pleasing, it may do very well on the Hit Parade--but Lady from Shanghai is not a musical comedy...Mr. Roemheld is an ardent devotee of an old-fashioned type of scoring now referred to in our business as "Disney". In other words, if somebody falls down, he makes a "falling down" sound in the orchestra, etc., etc...If the lab had scratched initials and phone numbers all over the negative, I couldn't be unhappier about the results...Just before I left to go abroad, I asked Vi (Viola Lawrence, the editor) to make a cut which would involve dropping the near accident with the taxi-cab and also quite a bit of dialogue. I am convinced that this would have been an excellent cut...saving much needed footage in the slow opening sequence (this was not done, accounting for the main weaknesses of the film's opening reel)...There is nothing in the fact of Rita's diving to warrant a big orchestral crescendo...What does matter is Rita's beauty...the evil overtones suggested by Grigsby's character, and Michael's bewilderment. Any or all of these items might have inspired the music. Instead, the dive is treated as though it were a major climax or some antic moment in a Silly Symphony: a pratfall by Pluto the Pup, or a wild jump into space by Donald Duck...There is no sound atmosphere on the boat. A little wind and water is sorely missed. There's no point in photographing a scene on a real boat if you make it sound as though it all happened in front of a process screen...At the start of the picnic sequence...in the temporary score, we used a very curious, sexy Latin-American strain...This has been replaced with a corny "dramatic" sequel--bad stock stuff...This sort of music destroys that quality of strangeness which is exactly what might have saved Lady from Shanghai from being just another whodunit...There is a big musical outburst after Grigsby's line, "I want you to kill him." This is absurd...The Hawaiian guitar music which comes out of the radio...was supposed to be corny enough to make a certain satirical point. As it stands now, it's on about the same level as the rest of the scoring. Nobody in the audience could possibly suspect that we're kidding...The aquarium scene needs more echo. "Please Don't Kiss Me" is in again!...A bad dubbing job and poor scoring has destroyed the character of Michael's run down the pier. From the gunshot through to the phone call, a careful pattern of voices had been built up with the expenditure of much time and effort. For some reason, this has all been junked in favor of a vague hullabaloo. As a result, the whole sequence seems dull...The audience should feel at this point, along with Michael, that maybe they are going crazy. The new dubbing job can only make them feel that maybe they're going to sleep...The gun battle with the breaking mirrors must not be backed with music...The closing music again makes reference to "Please Don't Kiss Me"...This finale is obvious to the point of vulgarity, and does incalculable injury to the finish of the picture."<br /><br />All of these edits from Orson were ignored | 1 |
After all, you do not go to an Orson Welles movie to see a nice simple little plot and a burnishing of the image of a happy-ever-after star
<br /><br />You go to see theatrically heightened characters locked in conflict against colorful and unusual settings, lighted and scored imaginatively, photographed bravely, and the whole thing peppered with unexpected details of surprise that a wiser and duller director would either avoid or not think of in the first place
<br /><br />As usual, as well as directing, Welles wrote the script and he also played the hero a young Irish seaman who had knocked about the world and seen its evil, but still retained his clear-eyed trust in the goodness of others
Unfortunately for him, he reposed this trust in Rita Hayworth, whose cool good looks concealed a gloomy past and murderous inclinations for the future
She was married without love, to an impotent, crippled advocate, acted like a malevolent lizard by the brilliant Everett Sloane
<br /><br />There is a youthful romanticism underlying it all, and this quality came into exuberant play in "The Lady from Shanghai." Before the inevitable happened, Welles escaped to a final triangular showdown in a hall of mirrors, which has become one of the classic scenes of the post-war cinema
<br /><br />Welles did not miss a chance throughout the whole film to counterpoint the words and actions with visual detail which enriched the texture and heightened the atmosphere
His camera seemed almost to caress Rita Hayworth as the sun played with her hair and her long limbs while she playfully teased the young seaman into her web
| 1 |
Of all the film noirs of the 1940s and 1950s, this has to rank as one of the strangest, and most fun to watch. I say that because of the four main actors: Orson Welles, Rita Hayworth, Everett Sloane and Glenn Anders. <br /><br />The first two names are familiar to everyone but it was the last two that made this movie so entertaining to me, especially Anders. His character, "George Grisby," is one of the strangest people I've ever seen on film. His voice, and some of the things he said, have to be heard to be believed. Slaone isn't far behind in the "strange" category. Hayworth is not as glamorous with short, blonde hair but still is Hayworth, which means a lot to ogle if you are a guy. Welles' is as fascinating as always. One tip: if you have the DVD, turn on the English subtitles. His character in this movie is an Irishman and you need the subtitles to understand everything he says. <br /><br />Welles also directed the film which means you have great camera angles and wonderful facial closeups. You also have a unique ending, visually, with a shootout in a house of mirrors. Great stuff! As bizarre as this film is, I still thought the buffoon-like carnival atmosphere at the trial near the end was too much and took away from the seriousness of the scene. Other than that, no complaints. <br /><br />This is great entertainment, which is the name of the game. | 1 |
After CITIZEN KANE in 1941, Hollywood executives turned their cob-webbed backs on the great Orson Welles. With the exception of KANE, Welles lost all creative control on MAGNIFICENT AMBERSONS, JOURNEY INTO FEAR, and many other films to come. Welles was an innovative and creative genius, the most unconventional of filmmakers when Hollywood was in need of a few more. THE LADY FROM SHANGHAI is yet another example of the misunderstood view of Welles' films at the time, a movie that seems a bit choppy and non-fluent. It has a conventional 1940's premise told in a most unconventional way, and I am sure some scenes ended up on the cutting room floor. It is now legend that Columbia mogul Harry Cohn stood up during its initial screening and asked what it was about. In hindsight, many old grumps that ran the studios back then had not one clue as to the cinematic techniques and master story-telling of Orson Welles and THE LADY FROM SHANGHAI is only nearly great because of their intrusion.<br /><br />Beside being arguably the greatest director of all-time, Welles was also quite a performer as an actor. At 25, we all know what he did as "Charles Foster Kane", perhaps the most famous character in film history. Here, he inhabits a rare character of dim wit and not much intelligence, something unfamiliar to those familiar with Welles other great work. Instead of a slick, wise tongue, he speaks with a rough, Irish twang. Rita Hayworth (his unhappily married wife at the time) plays an unhappily married wife of a lawyer who puts Welles in a spell and is able to draw him into a job that will take him to the limits of deception and disillusionment. He is a large lug who may have even murdered a man, but the real mystery lies in the relationship between Hayworth (with stunning blonde hair) and crippled hubby Everett Sloane (Mr. Bernstein from CITIZEN KANE). A creepy partner of Sloane's is along for the sail around the country to set off a number of peculiar events that has Welles' "Michael O'Hara" head spinning. Welles narrates the picture as O'Hara, but things are still unclear throughout. See for yourself and realize that it takes at least 2 viewings to fully know exactly what's up.<br /><br />An uncharacteristically strange courtroom sequence centers around "O'Hara", with Sloane defending him. It is an oddly comedic scene with some quirky courtroom methods, including Sloane cross-examining himself. I didn't really laugh here because the film stalls at this point after a first portion that never gets to take off anyway. Up to this point, the cinematography is great, some scenes are shot with craft and skill (aquarium love scene), but there is no distinct line drawing the elements and us, the audience, in. Reportedly, the court scene was re-shot against Welles' requests (10 closeups of Hayworth were ordered) and a makeshift song sung by the starlet was thrown in at Cohn's insistence. A gaudy score infuriated Welles, who once again, was left out of the editing process. Thank Welles himself for saving the film entirely with a tour-de-force ending that will always be treasured. The so-called "Hall of Mirrors" scene brings buffs back time and time again, rightfully so.<br /><br />It must be seen to be believed and it does a good job of wrapping up some confusing ideas presented. The crash of the mirrors represents "O'Hara's" disillusionment and the "crazy house" itself is a masterpiece of art and set decoration. It seems more like a state of mind than an actual place and is indeed "crazy", twisted and turned like a Dali painting. This is a great ending to a flawed picture that if left alone would probably have made the AFI's Top 100. Then again, 3 or 4 more of Orson Welles films may have made all collective "best of" lists if he had been left alone to create his own magic.<br /><br />NOTE: Look for the Mercury Players that are so prominent in Welles pictures. They pop up all over. RATING: 8 of 10 | 1 |
One can only imagine the film Mr. Welles might have finished without the interference of the studio! This film is a flawed Welles, but worth every minute of it because one can see the greatness of perhaps America's best motion picture director of all times!<br /><br />We can see the toll it took on Orson Welles the filming of this movie. The story has a lot of holes in it, perhaps because of the demands of the studio executives that didn't trust the director. <br /><br />It is curious by reading some of the opinions submitted to IMDB that compare Orson Welles with the Coen brothers, Roman Polanski, even Woody Allen, when it should be all of those directors that must be regarded as followers of the great master himself. No one was more original and creative in the history of American cinema than Mr. Welles. Lucky are we to still have his legacy either in retrospective looks such as the one the Film Forum in New York just ended, or his films either on tape or DVD form.<br /><br />Rita Hayworth was never more lovingly photographed than here. If she was a beauty with her red hair, as a blonde, she is just too stunning for words. Everett Sloan and Glenn Anders made an excellent contribution to the movie.<br /><br />The only thing that might have made this film another masterpiece to be added to Orson Welles body of work, was his own appearance in it. Had he concentrated in the directing and had another actor interpret Michael O'Hara, a different film might have been achieved altogether. Orson Welles has to be credited for being perhaps a pioneer in taking the camera away from the studio lot into the street. The visuals in this film are so amazing that we leave the theater after seeing this movie truly impressed for the work, the vision and the talent he gave us. | 1 |
Orson Welles' "The Lady From Shanghai" does not have the brilliant screenplay of "Citizen Kane," e.g., but Charles Lawton, Jr.'s cinematography, the unforgettable set pieces (such as the scene in the aquarium, the seagoing scene featuring a stunning, blonde-tressed Rita Hayworth singing "Please Don't Love Me," and the truly amazing Hall of Mirrors climax), and the wonderful cast (Everett Sloane in his greatest performance, Welles in a beautifully under-played role, the afore-mentioned Miss Hayworth--Welles' wife at the time--at her most gorgeous) make for a very memorable filmgoing experience. The bizarre murder mystery plot is fun and compelling, not inscrutable at all. The viewer is surprised by the twists and turns, and Welles' closing line is an unheralded classic. "The Lady From Shanghai" gets four stars from this impartial arbiter. | 1 |
As I watched one of Orson Welles' last contributions to Hollywood as a filmmaker, I knew I was watching a great movie unfold, though at times I did not know why. The story in The Lady from Shanghai has the prime elements of a film-noir: average-Joe lead, femme fatale, conspicuous supporting characters, and a comprehensible if somewhat convoluted plot structure. It is an entertaining ride, and it's filled to the brim with Welles' unique gifts as a director, but there are scenes that tend to just not work, or don't feel complete in what was Welles' full vision (the latter is unfortunately too true- executive producer Harry Cohn and the Columbia execs are to blame for that).<br /><br />Welles co-stars with his then wife, the profoundly gorgeous Rita Hayworth, as Mike O'Hara, an Irish worker who can and does get angry at the right people. Hayworth is Mrs. Bannister, married to Mr. Bannister (Everett Sloane, who played Mr. Bernstein in Citizen Kane), who is accompanied by a friend Mr. Grisby (Glenn Anders, who has great control in his eyes). They want to go sailing on their yacht and take O'Hara along for the ride, and at first he's reluctant, but agrees since he's falling for the married Mrs. As their journey unfolds, O'Hara finds that Bannister and Grisby are not pleasant to be around, and more so with Grisby, who at first seems out of his gourd. Yet as the plot unfolds, O'Hara is drawn into a scam that Grisby is planning for insurance money, with results that I dare not reveal (although they have been discussed over and over by others).<br /><br />Whatever liabilities pop up here and there in the mystery part of the story (and those few noticeable moments where shots were studio dictated), the performances and the look of the film are what remains striking after over fifty-five years. Though he doesn't have the terrific Greg Tolland (Kane's DP) at his side, dependable Charles Lawton Jr. assists Welles in creating an atmosphere that is both elegant and stark, covered in shadows, deep focus, low angles, the works. A particular accomplishment is the fun-house mirror scene, which is merely a highlight among others. Welles himself is always dependable as an actor- even if his accent isn't anything special- and Hayworth herself makes a scene a little more lush, despite her path in the story. <br /><br />The Lady from Shanghai is worth checking out, especially for Welles, Hayworth, or film-noir buffs (fans of the Coen brothers might find this fascinating as well). It may just take a little while, repeat viewings (as was for Touch of Evil), for the underlying motives in the plot to sink in. | 1 |
Made in 1946 and released in 1948, The Lady and Shanghai was one of the big films made by Welles after returning from relative exile for making Citizen Kane. Dark, brooding and expressing some early Cold War paranoia, this film stands tall as a Film-Noir crime film. The cinematography of this film is filled with Welles' characteristic quirks of odd angles, quick cuts, long pans and sinister lighting. The use of ambient street music is a precursor to the incredible long opening shot in Touch of Evil, and the mysterious Chinese characters and the sequences in Chinatown can only be considered as the inspiration, in many ways, to Roman Polanski's Chinatown. Unfortunately, it is Welles' obsession with technical filmmaking that hurts this film in its entirety. The plot of this story is often lost behind a sometimes incomprehensible clutter of film techniques.<br /><br />However, despite this criticism, the story combined with wonderful performances by Welles, Hayworth and especially Glenn Anders (Laughter) make this film a joy to watch. Orson Welles pulls off not only the Irish brogue, but the torn identities as the honest but dangerous sailor. Rita Hayworth, who was married to Welles at the time, breaks with her usual roles as a sex goddess and takes on a role of real depth and contradictions. Finally, Glenn Anders strange and bizarre portrayal or Elsa's husbands' law partner is nothing short of classic! | 1 |
At the point in time that The Lady from Shanghai was being made, the marriage of Orson Welles and Rita Hayworth was disintegrating. The film was as much an effort by Welles to rekindle the old flames as it was to make a classic noir. Not received well at the time, The Lady from Shanghai has gotten more and more critical acclaim as years pass. Gotten better with age so to speak.<br /><br />Welles is Irish seaman Michael O'Hara who on a fateful night rescues the beautiful Rita Hayworth from three muggers in Central Park. Sparks do fly, but then comes the rub, turns out the lady is married to crippled, but brilliant criminal attorney Everett Sloane. Nevertheless Sloane takes an apparent liking to Welles and hires him to skipper his yacht.<br /><br />So far this film is starting to sound a lot like Gilda. If Orson had seen Gilda and was not at this point thinking with his male member, he would have skedaddled back to the seaman's hiring hall in Lower Manhattan. Instead he gets himself involved in a lovely web or intrigue and finds himself pegged for two murders and Sloane as his eminent counsel.<br /><br />Welles for whatever reason decided that his wife would be a blond in this film. Supposedly Harry Cohn hit the roof as Rita was internationally known for her coppery red hair. This may have soured him on the picture as he joined the legion of studio bosses who saw Welles's vision of independent film making a threat to their power.<br /><br />Stage actor Glenn Anders plays Sloane's partner Grisby who is one slimy dude, he winds up a corpse. The other corpse to be here is Ted DeCorsia, a bottom feeding private detective who tries to go in business for himself.<br /><br />It's a good noir thriller, showing Rita at her glamorous best even if she was a blond here. The final shoot out in the hall of mirrors is beautifully staged, but I wouldn't recommend seeing it if one is on any controlled substance. | 1 |
The first mystery is to guess what Welles' original film was like. That makes this a real adventure -- to see an incomplete skeleton and using cinematic forensics, imagine the beautiful woman it once supported.<br /><br />If you do, you will both see and experience perhaps one of the best film mysteries ever. As mysteries go, the narrative is rather ordinary: a simple diversion, one jealous husband as red herring.<br /><br />What's rather miraculous is Welles' placement of the story in an artificial eye seeing a dark, dark multifaceted world. The first real noir, but even darker. It's not an obviously twisted world, unless you think about the camera. What we can see firsthand is someone creating a vocabulary that would later become common.<br /><br />For all the celebration, Kane was a success because of the great drama and story. The camera's eye was shocking, but experimental. Welles would go from there to explore the mystery narrative and the self-reference of Shakespeare with this eye. Othello and MacBeth are both begun in this period, and I consider them part of a single vision with this. <br /><br />The noir feel here hinges on the notion that people are not in charge of their lives, even a little -- they are manipulated by random factors in the environment. So in telling this story, Welles has to make the environment into a character. Several characters as suspects in the mystery.<br /><br />Thus we have the famous lighting, blocking and angles we know (and have since seen countless times). And we have the deliberately closed sets: the park, yacht, picnic area, aquarium, dock, courtroom, Chinese theater and funhouse. I am certain that what was cut by the barbarians was lots and lots of 'external' narrative dealing not with character but with these strange environments.<br /><br />My own solution to the mystery is that the funhouse did it, among the other character-environments introduced as suspects. In other words, the manipulation of Black Irish (who we know from notes and one scene typing at the union hall was an aspiring novelist) was neither: a force of human conspiracy (the park or the civilized version, the courtroom) nor of nature (the picnic or the civilized version, the aquarium).<br /><br />Instead it was a matter of deliberate caprice by the gods for amusement. This is of course a self-reference to what Welles is doing: putting these people (including himself) through hell for our own caprice, a matter underscored by the Peking Opera set with Welles doped up. And of course leading to the funhouse where the environment directly tinkers with perception.<br /><br />More about the self-reference: surely there is conscious comment on his relationship with his soon to be exwife. But I believe there is strong subconscious comment on his own taunting the environment in which he worked, the studio environment. Surely Welles was as much screwed with, and in much the same way, as his character. And that screwing took the form of the murder of this film, leaving the rotting corpse mentioned at the beginning of this comment.<br /><br />That poor Rita comes from China ties up the whole thing, the Chinese theater, the expected rape from above, the loss of the woman. The investment in environment beyond all. | 1 |
In NYC, seaman Michael O'Hara (Orson Welles) rescues Elsa Bannister (Rita Hayworth) from a mugging & rape as she takes a horse & carriage through Central Park -and lives to regret it. Titian-haired Hayworth's a platinum blonde in this one; as dazzling as fresh-fallen snow -but nowhere near as pure...<br /><br />To reveal any more of the convoluted plot in this seminal "noir" would be criminal. It's as deceptive as the mirrors used to cataclysmic effect in the final scenes -but the film holds far darker secrets: From the NY Times: "Childhood Shadows: The Hidden Story Of The Black Dahlia Murder" by Mary Pacios "Mary Pacios, who was 5 years old when she was befriended by 15 year old Bette Short, retraces Short's steps, interviewing friends and associates. She also offered a detailed, if speculative, analysis of Orson Welles -particularly in regard to his movie "The Lady From Shanghai". According to Ms. Pacios, the movie, along with related archival materials, has many of the same ritualistic elements associated with Short's murder. She raises the question: Could Welles have been the killer?" Interesting theories -and with the spate of books now out on "The Black Dahlia", much more may come to light. Fritz Lang's brutal "film noir", "The Big Heat" (1953), was a roman-a-clef telling of the "Dahlia" killing in "The City Of Nets" that was L.A. -but it's the Orson opus that the "Dahlia" had a "hands-on" connection to. In reality, it was Bugsy Siegel (and the Hollywood mob wars of the 1940's) that did the "Dahlia" in ...but that doesn't negate much of what Pacios wrote. Almost all of Hollywood intersected with Elizabeth ("The Black Dahlia") Short and her tale/aura/legacy/curse is encoded in a number of Golden Age films.<br /><br />The "Black Dahlia" was always on the peripheral edges of "Shanghai"-even before it started filming. Barbara Payton on Franchot Tone: "It was when he was thinking about making "The Lady From Shanghai", before he lost the option to Orson Welles. Franchot said he'd been in a bad state over that deal when he ran into the Dahlia in the Formosa Cafe* across from the Goldwyn studios..." *The floor above the Formosa Cafe was Bugsy Siegel's office and "The Dahlia" one of his on again/off again working "girls".<br /><br />It gets deeper and darker- After the 1951 brawl over Barbara Payton between Tom Neal and Franchot Tone that sent Franchot to the hospital with a concussion and "never talking the same way again," Barbara said, she married Tone "just to spite Neal." Tom ("Detour") Neal also knew "The Dahlia" (who didn't?) and became obsessed- From "L.A. Despair" by John Gilmore: "The January 1947 slaying of the young, beautiful would-be actress Elizabeth Short, known as "The Black Dahlia", was one of the most grisly murders in the annals of modern crime. A project, called "Who Killed The Black Dahlia?" was being kicked off by actor Tom Neal, a hell-raiser from WW II movies. Potential producer Gene Harris: "Someone will have to come up with a more imaginative business proposition than what has been presented by Tom Neal and his cohorts..." Not long after: "It would be very clear one beautiful day to come, when Tom would sneak up on his pretty, new Palm Springs wife as she lay on their sofa and shoot a .45 bullet through her head." Barbara Payton and Norma Jean Dougherty (later Marilyn Monroe) knew the "Dahlia" and their stories are well known. It seems all who crossed the path of the "Dahlia" (like the proverbial black cat) entered a "Twilight Zone" darkness and/or had an incredible string of bad luck afterward. Tone/Neal/Welles are only a few -and this includes a butchered film called "The Lady From Shanghai"...<br /><br />"Lady From Shanghai" took two years to be released, thanks to extensive re-editing -and all because Columbia president Harry Cohn couldn't understand the story. It's dark "noir" to be sure -one of the darkest, in fact. It's also a wicked satire on life in the new Atomic Age.<br /><br />Nicolas Christopher:<br /><br />"Shanghai" pushes forth an insistent subtext of nuclear apocalypse and contains the definitive noir statement concerning the atomic bomb and the American city. The film's principal murder victim (and there are many), a psychotic and double-dealing lawyer, manically foresees Armageddon at every turn, claiming he can "feel it." He announces that he plans to escape to a remote Pacific island -a particularly acid joke on Welles' part since this was the very year the U.S. began testing atomic bombs at just such a place, the Bikini Atoll, relocating all the inhabitants and destroying the ecosystem. By the time of Bikini, the erotic identification of Hayworth with the Bomb appears to have been institutionalized, with the blessing of the military brass; the first bomb dropped in the Pacific testing ground in named "Gilda" and has Hayworth's image, in provocative dress, painted directly on its casing..." <br /><br />Its ironic that Orson Welles' broad interpretation of an Irishman is considered a detriment to the film by many. Welles is giving a clue to viewers that "Michael O'Hara" is only the storyteller - not part of the story even though it revolves around him. "O'Hara" contradicts the shark motif throughout the film. Sharks on a feeding frenzy won't stop until there's nothing left. "Michael O'Hara" lives to tell the tale. "Elsa Bannister" causes a feeding frenzy during "O'Hara's" trial and her netted chapeau suggests she's caged in -so as not to devour the human spectators to a Roman Coleseum. The spectators are on a feeding frenzy of their own, gossiping and carrying on about "Elsa" -a human aquarium correlating to the San Francisco marine museum sequence. That's the human condition ...except for "Michael O'Hara". And yet he'll be spending his life trying to forget his past ("Elsa") -or die trying. "Elsa" is part of "Michael" and the tale eats its own tail in the end and the viewer is cautioned to stay out of trouble. | 1 |
This could be well have been THE definitive film noir of all time, had not the Columbia Studios cut so much of Orson Welles's original. What we are left with is a flawed, yet brilliant film that showcases the overwhelming talent of Welles as an actor/director and Rita Hayworth as a serious dramatic talent.<br /><br />'The Lady From Shanghai' is film noir at it's most sizzling and confusing. Welles, with an uneven accent, portrays Michael O'Hara, a journeyman Irishman, who, after a fateful encounter with the seductive, dangerous Elsa Bannister (Hayworth, in a GREAT performance)finds himself virtually coerced into accepting a job as a crewman on her and her crippled husband's (Everett Sloane) yacht. Elsa, or 'Rosalie' as Michael likes to call her, plays the innocent, helpless doll very well, ensnaring O'Hara in her web. As the lovers conduct a not-so-secret affair at sea, Arthur Bannister's partner in his law firm, George Grisby (Glenn Anders)comes aboard. He is a weird, untrustworthy figure who offers Michael a unique proposal: He will get $5000 to assist Grisby in the faking of Grisby's death, so it looks murder. The plan is for Michael to get off a technicality, and run off into the sun with Elsa. But things do not go to plan.<br /><br />Hayworth delivers us one of the best femme fatales of all time in a very ambiguous portrayal. At times she seems genuinely vulnerable and child-like, at others brutal, world-weary and hard. Always she is brilliantly beautiful, whether he situation calls for her to be dripping wet in a swimsuit or dressed in black, brandishing a gun. Hayworth is beautifully photographed here, and she is a far-cry from her famous 'Gilda' role. Her then-husband Orson Welles cut off her trademark auburn locks for a dyed blonde crop (angering Columbia boss Harry Cohn). It was a terrific marketing ploy, and he change suits her changed attitude wonderfully. She is not the sympathetic femme fatale that 'Gilda' is, here- instead she is a predatory, black-hearted dame who sees murder as a very useful option.<br /><br />The Welles and Hayworth pairing came at a time when the couple were having extreme difficulties in their marriage. They would divorce after the film was made, so this is also a curiosity for providing some view into the complicated relationship. They are hateful, not romantic, lovers in this, so it's hard to gauge whether or not they had real chemistry on screen. Certainly every encounter is potent and filled with raw sexuality, with Welles as the 'fall guy' (he even admits it himself in the film!) and Rita as the double-crossing babe.<br /><br />Welles character is the typical noir 'drifter' with not much sense. As Welles voice-over proves to use, O'Hara indeed does not use his brain very much 'expect to be thinking of her (Elsa)'. Welles usually played intelligent, charismatic fellows, so his turn here as the dim-witted Michael is unusual and very interesting. Indeed, Welles was an actor of fine talent and he pulls off it well.<br /><br />Everett Sloane is suitably slimy as Hayworth's crippled husband. One wonders why he hires Michael. It is obvious that his wife is interested in him romantically, so why does he invite a 'threat' on board? One interpretation could be that Michael provides the 'service' to his wife that Bannister cannot in his crippled state. There is definitely something to that theory, with a lot of implications toward Elsa's behaviour before she met her husband (was she some sort of prostitute?)and Grisby's knowledge of Bannister's most intimate secrets being hinted at in several scenes.<br /><br />This is a jumbled, convoluted film with a plot that is ultimately flawed. We are more interested in the love triangle than the murder plot, as with most noirs. Welles provides us with many of his usual brilliant cinematic touches, including the justifiably famous 'hall of mirrors' climax. It's a terrific scene, one ending that can almost obliterate the faults earlier on in the movie and lift it into greatness. This fun house scene is visually stunning, with a Dali-like feel to the painted sets (apparently Orson painted them himself). Subtle visual imagery utilized throughout the film by Welles enhances the plot and makes this a thought-provoking experience.<br /><br />The dialogue is scorching and confusing, delivered superbly by Rita's alternately breathy low voice and helpless, high-pitched little-girl voice. Hayworth proves her acting capabilities in this one, and proves that SHE is the ultimate femme fatale of 'noir'. It's a pity (only a slight one , as Rita was a brilliant dancer) that she did so many delightful yet frothy and often forgettable musicals for Columbia in the 40's instead of darkly-themed noir like this. She was a brilliant actress when given the chance to show off her talent.<br /><br />9/10. | 1 |
Orson Welles manages to knock me on my ass with every picture of his I see. Lady of Shanghai is on the same level as his other masterpieces, The Magnificent Ambersons, Touch of Evil, The Trial, and Chimes at Midnight. The plot can tend to be confusing sometimes, and sometimes it seems to be moving maybe a tiny bit too fast (about an hour of it was edited out when test screenings went poorly). It doesn't matter, however. You can't watch Welles' films and manage to concentrate too much on the plot. His direction defines what great direction is. Almost any scene from this film can hold up with any other scene he directed. Check out the courtroom scene. Usually they are such stock scenes that I can't stand them. Case in point, try to sit through Welles' own speech near the end of Compulsion. In Lady from Shanghai, just pay attention to the level of detail in that courtroom scene. Watch that juror who is always sneezing and interrupting the proceedings. Or just take a look at the lighting in that scene. I know, it is just a simple Venetian blind, and that it was used constantly in film noirs and crime films of the era, but Welles gives it a beauty all its own. The dialogue is also remarkable. Welles had the skill, a skill that no one else seemed to have, to make a crime film containing examples of the grandest poetry. Whether he was speaking Shakespeare or spitting out hard-boiled lines, it had the power to stir the soul. 10/10. | 1 |
Any film in the early days of Orson Welles is a triumph all the way to The third Man with Joseph Cotton. He is also wonderful in a Touch Of Evil. Please see them all! He tends to get pompous and self serving in films like F is for Fake, really stupid waste of film.Don't waste your time watching it. it is really ignorant. Orson Welles is a film icon and anyone studying film should see everything he has filmed. All his leading ladies are tremendous but in the end Welles became a fat drunk, like his character in A Touch Of Evil! For some reason Orson Welles had a way with women, I see how he could be considered attractive in his youth, not like Gary Cooper or Joseph Cotton, or Cary Grant,John Wayne, I could go on and on but I digress... and because I am a woman,I can see the attraction to him. He (Orson Welles) is one of the last true film makers and unless you count the film-makers of today: Tarantino, Scorscese, Spike Lee, most of the film makers just don't measure up to the film makers of the Forties! I know there are many more great film makers of today but in such a short amount of time I can't name them all. No Offense to any of the great film makers of this millennium! August 21,2006. Please remind me of some current up and coming film makers, I don't want to be stuck in the past! I love some of the films out now, but rarely are there any that I would put on a "100 best" list.. "Hustle and Flow" was great, so was "Fargo", and "Oh, Brother, where art thou," from a line in Sullivan's travels; another fine film from the forties! Can anyone give me a best list for the 90's and on up to 2006? I would like to know who to watch! Thank you! Also Props to this website! Where else can you plug a film or boo it! i love the ranting and raving from regular folks like me who can say what I want and I promise not to spoil any film for someone who hasn't seen it yet! | 1 |
Surreal film noir released soon after the "real," genre-defining classics "The Maltese Falcon," "Double Indemnity" and "The Postman Always Rings Twice." Welles films shouldn't be evaluated against others. He was playing by different rules. In fact, he was playing. This starts where other femme fatale films leave off, so the vaguely logical (but interesting) whodunit is embellished with a display of Wellesian scenes (typical rapid-fire style), dialog (lots of "hard-boiled" philosophy), and unusual acting (good Hayworth presumably intentionally one-dimensional). To Welles "genre" may have meant "formula" but he seemed to like using "mysteries" as backgrounds for his "entertainments." | 1 |
What can I say, it's a damn good movie. See it if you still haven't. Great camera works and lighting techniques. Awesome, just awesome. Orson Welles is incredible 'The Lady From Shanghai' can certainly take the place of 'Citizen Kane'. | 1 |
This 1947 film stars and was directed and written by Orson Welles (with a funky Irish accent) and also stars the gorgeous Rita Hayworth with less appealing short blonde hair. So, I've hung out with Orson before in Touch of Evil and Citizen Kane and the Third Man etc. but this was my first Rita Hayworth interaction. Our first meeting went well, she does a superb job playing the frightened/cagey Elsa, married to a crippled millionaire lawyer. Mike (Welles) and Elsa fall for each other. He wants to run away with her, she doesn't know if she can live without the things money can buy. Elsa, her husband, and his partner bicker and bite, just like the sharks Mike describes attacking each other and his foretelling proves just too true. Several twists and turns follow in this murder mystery as we come to the climax in the fun house. (Think the ending shootout in The Man with the Golden Gun, which borrowed heavily from this scene). I wasn't sure who the murderer was until the end.<br /><br />This movie is like shrimp in garlic and lemon. The dish centers on the sea, it is subtle, sour, and pungent, all to great effect. These might not be the best, fresh shrimp, but good quality frozen shrimp from Costco. The flavorful sauce adds to the naturalness of the pink shrimp as you fill up on a healthy, but filling alternative to more mundane, common fare. 7/10 http://blog.myspace.com/locoformovies | 1 |
The Lady From Shanghai is weird even by the standards of its eminent director, Orson Welles, whose last Hollywood film this was for many a moon. It's a kind of post-modern film noir made during the period when more conventional films of this type were quite popular, and it concerns a happy go lucky Irish sailor (played by Welles) who falls in with a mysterious lady (Rita Hayworth, who was married to Welles at the time), and her crippled, and probably impotent husband, played with a brainy, malevolent gusto by Everett Sloan. A long sea voyage follows, with Welles in tow as bodyguard, and the plot thickens when Sloan's law partner (Glenn Anders) turns up and starts making trouble by giving odd speeches about suicide and other morbid topics that suggest that the man is on the verge of mental breakdown. A murder plot ensues, and all sorts of calamities follow for Welles and his employers, and at this point the story, fuzzy and told at a leisurely pace thus far, goes off the deep end, and the last part of the film consists of brilliant directorial set-pieces that seem to have been thrown in to give the movie some of the drive and urgency its story does not, by itself, possess, and the result is a very watchable and often pleasing at all times incomprehensible mess.<br /><br />It's hard to know what Welles was trying to do with this film aside from maybe resurrect his career in Hollywood by making a vehicle for his wife. But self-destruction intervenes, as it often does with Welles, and Miss Hayworth has never looked less fetching. That she is also cast as a femme fatale seems peculiar, as aside from her beauty her most appealing trait as a screen personality was lovableness, a quality she does not possess in this picture. The director himself is strangely unappealing and hammy at O'Hara, the (presumably) easygoing sailor, since Welles, for all his many gifts, was not known as an easy man to work with. This is a role that twenty or thirty years later Sean Connery or Robert Shaw might have been able to breath life into. Welles does not. The most interesting performance in the movie is Glenn Anders' as Grisby, Sloan's loony, treacherous law partner. Anders works wonders with the part, and is photographed to look bizarre, while his scenes end on odd, sour notes, and are often choppily edited; but for all this he manages to make Grisby's derangement palpable and disturbing, and anticipates, in a genteel way, the more flamboyant Method actors of the fifties, such as Timothy Carey.<br /><br />There is a question that nags me about this film: what was Welles trying to say? He was a highly talented and intelligent man, and tended to make statements in his movies, which, whether one agrees with his world view or not, were brilliantly put forth. I think I have an answer, or a partial one: Welles was summing up his movie career. He had reached the end of his rope in the Hollywood studio system he despised, and he knew it. The Lady From Shanghai isn't exactly a nose-thumbing at the studio moguls of the day, but I suspect that it is, in its portrait of amoral, rival big shot lawyers (read: producers) expressing Welles' opinion of the power brokers of Hollywood. That he presented himself as a rootless sailor is telling. Welles himself was certainly an inveterate traveler, and he rarely lived in one place for long. He was hired by a studio to provide it with a big, prestigious film (Citizen Kane), which caused a firestorm of controversy from which he never fully recovered. This may be the issue that dares not speak its name in this film, which is to say Welles' personal failure in not getting over the shock of his newness in the movie colony, and his inability to deliver the goods, as promised. The mere fact of him turning up in Hollywood, like his mere presence in the film, could not forestall disasters well beyond his control. That he presented himself in the movie as an amiable, naive outsider shows a lack of self-knowledge on Welles' part. He was much more of an inside player than he let on, and I imagine that he despised his knowledge of the worldlier aspects of life, and himself for knowing so much. | 1 |
It's very hard to say just what was going on with "The Lady from Shanghai" and what the film could have been without studio interference. Orson Welles' prime interest in film at this point was to raise money for his theater; indeed, funding his own projects is what drove him to seek out acting jobs. He made "Lady from Shanghai" for his soon to be ex-wife, Rita Hayworth. Harry Cohn was fearful for Rita's image and held back the release of this movie for one year.<br /><br />The plot concerns an Irish sailor, Michael O'Hara, who falls in love with Else (Hayworth, stunning with short blond hair). Her husband is a well known criminal attorney Arthur Bannister (Everett Sloane) who is as crippled on the inside as he is out. He hires O'Hara to work on his yacht, and there O'Hara is drawn deeper and deeper into a web of murder and deceit.<br /><br />"The Lady from Shanghai" moves at a snail's pace, though I agree with one of the posters that films today are criticized for taking time to build a plot. Still, this movie drags. The scene in the fun house is fantastic - Welles wanted it without music, though, and I believe the studio cut it down. It's a shame. The photography throughout is stunning, atmospheric, bold, and very stylish.<br /><br />Welles was an excellent actor, handsome in his youth, charismatic and possessing a magnificent voice and technique, but in many films, it's almost as if he doesn't trust himself or doesn't take the time to develop a character. Instead he relies on externals such as accents and fake noses. One of the only times he didn't do this was "Tomorrow is Forever," where the director gets an excellent, deeply felt performance out of him. Contrast that with "Compulsion" where he shows he is a master of pure technical acting as he phones in his performance. Here Welles is doing quadruple duty - as director, star, co-writer and narrator. Sporting a completely unnecessary accent and looking intense was a fast way to a characterization. Nevertheless, he is always compelling.<br /><br />The supporting players are excellent, including Sloan and Glenn Anders. Hayworth, gorgeous and soft-voiced (her singing was again dubbed by Anita Ellis) is as usual a complete goddess and one of the great screen presences. What a sad life for such a vibrant beauty.<br /><br />Any film that Orson Welles directed is worth seeing, and "The Lady from Shanghai" is no exception. But this one leaves the viewer frustrated, as does "The Magnificent Ambersons" - as does any work that Welles did within the studio system. He was a great artist who should have been given a freer reign; he wasn't. He was a strange dichotomy - he needed more freedom, but as is evidenced by some of his later work, he needed the structure of the studio. Alas, he couldn't have both. | 1 |
Despite loving Rita Hayworth, finding the final few sequences of the film intriguing and being able to appreciate some of the subtler "symbolic" aspects of the cinematography, The Lady from Shanghai didn't quite work for me. I had a problem with most of the performances, the script and the overall structure. And in a film that's mostly people talking with each other in various situations, that's quite a problem. The Lady from Shanghai ended up at a very low "C", or a 7, for me.<br /><br />The Lady from Shanghai is really all about Orson Welles' character, Michael O'Hara. O'Hara sees Elsa "Rosalie" Bannister (Rita Hayworth) in Central Park on a carriage ride and hits on her. Later, he saves her from a mugging and she takes a shine to him. O'Hara is a seaman from Ireland and the globetrotting Elsa happens to own a yacht with her husband, Arthur (Everett Sloane), a very famous and powerful California defense attorney. They talk O'Hara into working for them, despite his initial reservations--it seems to him, and to the audience, that Elsa is just looking for someone to have an affair with, and O'Hara doesn't want to get involved.<br /><br />Shortly after going to work on their yacht, a strange man, George Grisby (Glenn Anders), who says he's Arthur's partner, shows up at a port of call and begins stirring up trouble. Eventually, Grisby asks O'Hara to enter into a very dubious and dangerous scheme. Foolishly, O'Hara agrees. Naturally it gets him into quite a bit of trouble, and eventually, a number of mysteries are revealed.<br /><br />Maybe my problems with the film lie in the fact that, so far, I'm not exactly a huge fan of Orson Welles, and here, he produces, writes, directs and consumes most of the screen time. I haven't seen anywhere near the majority of Welles' work yet, but I've tended to like his later films better, when he became a bit more campy and performance-arty. I love F for Fake (Vérités et mensonges, 1974) for example, and I even kind of like his performance in Casino Royale (1967), when he bizarrely insisted on being allowed to do magic tricks at a baccarat table, but Citizen Kane (1941) never did much for me, despite giving it 3 or 4 chances over the years (including about one year ago; my rating was a low 7--the same as my current score for The Lady from Shanghai).<br /><br />Welles' performance and the dialogue he's written for himself come across as affected and pretentious to me. He's a bit of a motormouth, a bit of a boor, and a bit monotone--he tends to sound like he's reading. His performance reminded me of what I've seen of Welles' version of Moby Dick (listed on IMDb as 1999, but "completed" in 1971, it can also be seen in Orson Welles: The One-Man Band (1995)), where he seems to be just reading to the camera and believing that he's inherently, sublimely dramatic. I'm also someone who almost never complains about accents, but somehow Welles manages to make his Irish accent sound affected and pretentious to me, too.<br /><br />As for the other performances, I can only say I thought Hayworth did an excellent job. Of course she's gorgeous, which doesn't hurt. Plenty of eye candy here. Like Welles, Sloane also seemed a bit affected and pretentious to me--I never quite bought his character, his handicap and so on, and Anders is simply bizarre where bizarre doesn't seem to fit. Welles often shoots him in close-up and Anders almost always has some over-exaggerated, manic expression on his sweaty face.<br /><br />Structurally, The Lady from Shanghai is very uneven. The first 50 minutes or so are extremely bland and soap-operatic, although the soap opera ministrations tend to be approached from a tortuous oblique. Once Grisby introduces his scheme, things pick up a bit, and mostly improve as we near the end. But by the time The Lady from Shanghai becomes a crime/mystery film, it's too little too late, and it quickly turns into a courtroom drama before the sudden, thrilling ending that comes almost out of nowhere and is over far too quickly for its relative excellence.<br /><br />The ending is more action-oriented, less-dialogue heavy, more varied and exotic in settings, and at times, fairly abstract. Welles handles that combination of material skillfully as a director. If The Lady from Shanghai would have been a largely a combination of the crime/mystery stuff and the arty ending, it could have easily been at least a 9. The final scenes are easily 10s, as Welles shifts from a Hitchcockian suspense scene in a San Francisco Chinese opera house to another suspense scene in a Chinese amusement park. The funhouse climax uses cinematography that was experimental for its time. It's well integrated with the script, as it allows a complex resolution and fuels a lot of symbolism.<br /><br />The cinematography throughout is interesting, even if it usually can't make up for the problems in the foreground. Welles blocks scenes with skill. There are lots of attractively filmed settings, from Central Park to Acapulco to various San Francisco locations. Welles effectively creates symbolic backdrops for his action, from the emphasized heights and precipitous drops of Acapulco to the maze-like Caribbean streets, the beautifully framed and silhouetted shots of the San Francisco Aquarium, and so on. The romance material, for which the Aquarium serves as one backdrop, is interestingly tempered with a kind of unease throughout the film, but on the other hand, that makes the romance never quite work as romance.<br /><br />Surely serious Welles fans will appreciate The Lady from Shanghai much more than I did, and of course it's worth a watch if you love Rita Hayworth. The Lady from Shanghai isn't exactly a terrible film, in my view, but it's dangerously close to not "passing". Proceed with caution. | 1 |
Pure Orson Welles genius makes this one of the greatest of movies. Welles is drawn into a murder conspiracy only to be set up as the fall guy, which is what he refers to with the sarcastic comment "big dummy that I am." Plot is so complex that I still don't know whether the victim knew that his life was about to be lost. The shootout scene in the carnival hall of mirrors is one of the most amazing ever filmed. That scene alone is worth the price of admission. This is the only time that Rita Hayworth ever played a complex yet believable character. No one but Welles would have had the nerve to cut her hair and dye it brassy blond. No one should miss this picture. | 1 |
Neatly sandwiched between THE STRANGER, a small film noir picture that proved Welles can do a formidable genre work on budget and on time and ironically proved his biggest box office success in the forties, and MACBETH, a no-budget Shakespeare adaptation shot in old western shets in 23 days, comes THE LADY FROM SHANGAI, a dark film noir woven from the very same fabric of Wellesian mythos that covers THE MAGNIFICENT AMBERSONS, MR. ARKADIN and any other film the director didn't manage to save from the clutches of studio bosses.<br /><br />Six years after THE MALTESE FALCON, with the post-war craze of the film noir in full swing, Welles, always ahead of his time, a true visionary director of tremendous artistic integrity, envisioned a labyrinthine world of shadows that is already darker, more sinister, paranoid and serpentine than anything his contemporaries were doing at the time. It's no wonder the movie was so misunderstood at its time, to the point that one full hour of footage was forever left in the cutting room floor, and it was once again Europe that championed it as another Welles classic.<br /><br />Certain set-pieces stand out. The aquarium scene with its flickering light and ominous shadows, and of course the Funhouse/Hall of Mirrors finale that is as classic a piece of Wellesian bravura as any in CITIZEN KANE or THE TRIAL. The only faults I find with the movie is Welles' ill-advised Irish accent and perhaps some of the erratic editing in the first act. The story however unfurls in a progressively mesmerizing manner, which the cuts only serve to intensify. I believe the heavily chopped versions of Shangai and Ambersons attain a surreal quality for that matter.<br /><br />Welles would exile himself in Europe for ten years and return in 1958 to deliver yet another stonewall classic, the monumental TOUCH OF EVIL, perhaps the crowning jewel of the film noir that was already in its waning days by that time. Shangai was not the box office success a star vehicle for Hollywood's premiere star of the time, Rita Hayworth, ought to have been, and Welles marriage with Hayworth ended before the movie was even released. Sixty years later and one hour of footage less, Shangai is still one of the best film noir pictures one is likely to discover. Surely that must count for something. | 1 |
It is not as great a film as many people believe (including my late aunt, who said it was her favorite movie). But due to the better sections of this film noir, particularly that justifiably famous "fun house" finale, THE LADY FROM SHANGHAI has gained a position of importance beyond it's actual worth as a key to the saga of Orson Welles' failure to conquer Hollywood.<br /><br />By 1946 Welles' position as a Hollywood figure was mixed. CITIZEN KANE was not recognized as the great movie it has since been seen as due to the way it was attacked by the Hearst press and by Hollywood insiders themselves. Welles' attempt at total control (direction and production and acting) of his movies seemed to threaten the whole system. His best job in this period was as Edward Rochester in JANE EYRE, supposedly shot by Robert Stevenson, but actually shot in large measure (with Stevenson's blessing) by Welles. But the credit went to Stevenson. Only THE STRANGER, a film benefiting from a postwar interest in fleeing Nazi war criminals, made a profit. For five years in Hollywood it was barely a great record.<br /><br />Welles returned to Broadway in 1946, hoping to recapture his critical abilities by his production of AROUND THE WORLD IN 80 DAYS. But despite the assistance Mike Todd, and Cole Porter composing the score, the musical was a failure. His failure occurred just at the same time that his wife, Rita Hayworth, was on the rise with her portrayal of GILDA. So the marriage was going on the rocks as well.<br /><br />Welles had to make money - his Broadway production had led to his personal bankruptcy. He sold his interest in the possible movie rights to AROUND THE WORLD to Todd (which he would eventually rue), and he also sold the idea of a film about the career of Henri Desire Landru to Charlie Chaplin, who was supposed to be directed in it (and who turned it into MONSIEUR VERDOUX).<br /><br />The story goes that Welles, with a $10,000.00 tax bill to worry about, called Cohn and offered to do a film with Rita for a down payment. Cohn was willing to do so, but naturally asked what the film was. It was a wise question. Welles was on a pay phone in New York in a pharmacy that had a book department. He grabbed a book with the title THE LADY FROM SHANGHAI, and raved that it was a great thriller. Somehow Welles convinced the normally astute Cohn that Welles knew what he was talking about. Cohn said he'd look into getting the rights, and sent Welles his down-payment of $10,000.00. After Cohn hung up Welles bought the book and read it - and found it was really pretty bad. He spent time rewriting a treatment and screenplay that would build up Rita's character of Elsa Bannister.<br /><br />Certainly it has a curious plot development. Michael O'Hara is a seaman/longshoreman. He rescues Elsa Bannister, when she is apparently attacked by gangsters in a park in San Francisco. Elsa is married to Arthur Bannister (Everett Sloane) a crippled criminal lawyer with a great reputation. She convinces him to hire Michael as the skipper of their yacht. The cruise also contains Bannister's sinister partner George Grisby (Glenn Anders) and one Sidney Broome (Ted De Corsia) who turns out to be a detective hired by Bannister to watch Elsa. When they can Michael and Elsa try to find time together, but Broome or Grisby keeps showing up.<br /><br />Grisby makes Michael an offer - he wants (for reasons connected to his so-called fatalistic view of modern society) to drop out of it, pretending to be dead. According to Grisby (the plot becomes murky here) he can still collect his life insurance (although dead?) and use it to run off to the South Seas. He will pay Michael $10,000.00 if he will pretend to shoot Grisby. This includes actually signing a document admitting to the murder (Michael does not realize that such an admission would wipe out the need to produce a corpse if all the other evidence suggests that Grisby is probably dead).<br /><br />Of course Grisby is killed, and Michael is arrested for that, and for the murder of Broome (shot with Michael's gun). Michael is tried with Bannister defending him, and discovers that the latter is doing a second rate job because he wants Michael to be convicted. Michael is convinced that Bannister is the actual murderer, and manages to escape just before the jury verdict. He is knocked out and deposited in a deserted carnival, and this leads to the famous "fun house" sequence and the conclusion of the film.<br /><br />It's a terribly confusing movie (as I have had commented on). That does not mean it's not worth seeing - visually it is striking. Witness the fight between Michael and the police in the trial judge's quarters, where he knocks the bailiff into the judge's bookcase, shattering glass. Or the clever use of photography to capture Hayworth diving from a rock, reflected on the lecherous Grisby's binoculars.<br /><br />The acting is pretty good, in particular Sloane (possibly that fine actor's best film role). Glenn Anders was a leading Broadway performer. He rarely made movies before THE LADY FROM SHANGHAI, and his slimy Grisby is unforgettable. Also Ted De Corsia does very nicely with Broome - a detective who is really looking for his own interests, to his own cost.<br /><br />As for Hayworth, she turns in a performance that was unlike most of what she had done before (BLOOD AND SAND, TALES OF MANHATTAN, and THE STRAWBERRY BLOND are exceptions), and is a memorable siren. Welles' O'Hara is a very unusual character for the actor - a likable but naive man who learns the hard way not to believe what he secretly wants to believe. It's not KANE, AMBERSOMS, OTHELLO, TOUCH OF EVIL, or CHIMES AT MIDNIGHT, but it is a good film for all that. | 1 |
THE LADY FROM SHANGHAI is proof that the great genius Orson Welles could direct a "mainstream" movie if he wanted to. By comparison to his other, more artistic works, this film has only a moderate amount of craftiness, and almost no esoteric elements.<br /><br />The exception being, of course, the final scene in the hall of mirrors, widely agreed to be one of the greatest scenes in the history of film. It alone is worth the cost of a rental.<br /><br />The sweet surprise was the superb acting by the beautiful Rita Hayworth. Her acting during the beginning and middle of the film is so excellent, she made the other actors appear as caricatures instead of characters. Even the great Mr. Welles. | 1 |
In a lot of his films (Citizen Kane, Confidential Report, Touch of evil) Orson Welles gave him the role of an exuberant men. In "The Lady from Shanghai" it's the only time I see him holding the role of the victim. The role of the culprit, he gave it to Rita Hayworth, I guess it's because he was in love with her. Therefore, it's an interesting film. But I find the story excellent too. The direction is genius, as usual with Welles : two scenes are particularly brilliant: the one in the aquarium and the final one with the mirrors. This film is brilliant.(10/10) | 1 |
One reviewer notes that it does not seem to matter what Welles actually says or does, he moves you. I concur. He was and remains a unique force in film. More than a triple threat who could act, write and direct, he had a genius uniquely suited to film. One can consider whether in an earlier age he would have been a painter. This film certainly reinforces that impression. A musician, a theatre actor, an heir to Shakespeare? hard to tell but I am very grateful that his time cam with film and he have him captured on film. I like the accent. I like the face, the size, the style, the mind and the games. I love all of his movies and wish there were more. I particularly love how other actors interacted with him on film. Many were never better or at least somehow different with him because he was o firmly there. Even towards the end when his beauty was ruined, perhaps by his own intent, he was impossible to ignore and he made every scene he was in. Rita was a gorgeous blonde -- a Lana Turner look alike but perhaps even lovelier and even then the eye goes to Welles and one wishes for another minute, another film, another hour in his company. That is why we all wish we could come upon the lost scraps cut from his films because we know, we all know, that there is not part of him not worthy of our time. Watch it and be grateful for the chance. | 1 |
I did no research on the film prior to my first viewing of it because it was part of a Welles box set I had recently purchased. A box set I chiefly got because I wanted to own A Man For All Seasons and to also re-evaluate Waterloo. So I stick Orson and Rita in the player and I'm treated to class and confusion in equal measure.<br /><br />On the surface the story seemed a simple one, man meets gorgeous woman and saves her from a couple of thugs, they click straight away and man gets offer of work on a cruise with woman and her famous lawyer husband, and then.............<br /><br />..well it becomes murder mystery of plotted devilment and much shenanigans. Michael O'Hara (Orson Welles} himself doesn't really know what is going on, he is as confused as the viewer is, and that is wonderful to watch as he is pulled all over the place by pretty much everyone in the film. Obviously being pulled by the heart strings by a femme fatale of such beauty as Elsa Bannister (Rita Hayworth} has its moments, but you just know that things are going to go pear shaped.<br /><br />So many wonderful things in the film, it has Welles visual style all over it, see a scene in an aquarium that is marvellous and the ending sequences in a fun house is majestic on the eye. The narration from O'Hara is joyously self mocking, and we get good light relief by way of a court case with Everett Sloane considerably lighting up proceedings.<br /><br />Yet the film is an oddity, and in fact it's a choppy viewing experience, because {as I was to find out after} studio bosses cut the film by pretty much a whole hour, and that is just not only frustrating to us the viewer, but unfair on Welles' vision. I'm positive that a full original cut of this film would have been lauded and revered wholesale, as it is tho, we have a very good and intriguing film, one that sadly only hints at greatness, but remains a fiendishly engrossing film that I'm glad I own to revisit further. 8.5/10 | 1 |
"The Lady from Shanghai" is well known as one of Hollywood's most troubled productions. Welles' original cut was taken away by the producers and cut to ribbons. This made the already muddled mystery story even more difficult to keep track of. They post dubbed a good amount of his dialog because of the density of the Irish accent, and the dubbing is all too apparent and poorly done. Most disastrous of all, Welles and his on screen and real life leading lady Rita Hayworth were falling apart in their relationship, and their tumultuous chemistry comes through on screen.<br /><br />Fortunately, this is all overcome by just how fantastic Orson Welles' direction is. He makes the film incredibly stylish and atmospheric - every scene just seems to be breathing down your back from the screen. Also, the characters and scenes are so bizarre they border on dreamlike and surreal. This sense of weirdness elevates scenes that are often found in these films, such as the courtroom sequences in the middle. I typically find courtroom dramas a bore, but Welles' direction and quirky touches make them just as fascinating as everything else. The ending at the carnival reminds one of David Lynch almost.<br /><br />The acting here is also very good. Despite their failing relationship, Welles and Hayworth both give decent performances - their interactions however are just a bit lacking. Everyone else is superb and delightful to watch though, especially Everett Sloane and Glenn Anders. "The Lady from Shanghai" obviously has its problems, but its worth watching just to see one of cinema's masters at his finest. (8/10) | 1 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.