Posts Tagged ‘actress’
Streaming So Proudly We Hail Online
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Streaming So Proudly We Hail Online.
Movie Title: So Proudly We Hail So Proudly We Hail is available for streaming or downloading. |
“So Proudly We Hail”, often comes in for more than it’s gorgeous part of criticism over it’s depiction of the splendid work carried out by nurses in the South Pacific during World War Two. Mention is made of the nurses looking like they have impartial stepped out of the beauty parlour with makeup and hair all looking perfect. I’m always mystified by that reaction as I feel this production goes a long blueprint towards depicting the wait on breaking and often extremely unsafe work that nurses carried out during the war in the Pacific. The film was made with the very best of intentions at a time when the outcome of the war was tranquil far from clear. Criticism has also been leveled at the propaganda inherent in parts of the script. Once again one has to plan this film in it’s time and station and if it motivated people to feel patriotic about their country in time of war and at least partly informed the movie going public about some of the work of wartime nurses then that is a job well done in my concept.
“So Proudly We Hail”, traces the stories of 9 nurses from the time they leave San Francisco through the trials and tribulations of their service with the armed services in the South Pacific. Three in particular are focused on, team leader Lt. Janet Davidson (Claudette Colbert), vivacious Lt. Joan O’Doul (Paulette Goddard) and inwardly tormented Lt. Olivia D’Arcy ) Veronica Lake) . Their stories are interwoven through the loyal life action of the group first being sent to Hawaii and then after a torpedo raid which sinks some of their companion vessels, being removed to the Bataan and Correigador regions where they care for and then assist evacuate the military and civilian wounded. The saga ends with the remains of their party being evacuated after mighty loss and suffering to Australia before embarking for home at the destroy of their tour of duty. The women experience all the deprivations of war and personal loss along the diagram as Lt. Davidson falls in fancy with Lt. John Summers (George Reeves) only to live in daily anxiety of him being killed while aloof having a job to do as the team’s main source of strength. Lt. O’Doul (Paulette Goddard) experiences similiar feelings for “Kansas” (Sonny Tufts), the gangly soldier who wins her heart and in the most tragic site Lt. D’Arcy who confronts old-fashioned demons and the loss of her fiance at the hands of the Japanese. Many ghastly incidents darken the daily grind of the nurses work such as regular bombing of their medical camp by the enemy and having to experience all the injure and suffering of wartime casualties and death of loved ones. Each woman is touched in some draw by her involvement in the action and emerges the better for her experience. We discover the women work under not only uncertain conditions but in those that would test the sanity of the strongest person with daily shortages of supplies, shelter and food a constant feature in the daily work.
The film places huge emphasis on the inner strength of the individual under fire whether it be soldier, nurse or wounded civilian. In this respect the film could never be judged superficial as many precise life elements of this period are tied into the account. Grand scenes abound in “So Proudly We Hail”, a standout is the scene during the evacuation of the camp when the nurses are stranded in one of the huts under fire and the trusty life treatment of war nurses in Nanking is mentioned as a telling reminder of the brutality of war. Lt. D’Arcy’s ultimate self sacrifice for the edifying of the group mild is a scene that packs a exact punch with it’s graphic depiction of a suicide killing of enemy soldiers. All three lead actresses are standouts in their maintain recent plot. Claudette Colbert delivers yet another great and totally convincing performance as the leader of the group. Long associated with extremely glamourous roles here she portrays a character forced under unpleasant conditions to peaceful be strong for the sake of her nurses. Paulette Goddard in an Academy Award nominated performance is great as the flighty mantrap with only men on her mind who develops into a responsible and dedicated nurse as her wartime experiences deepen her character. Veronica Lake also minus her o usual glamourous persona is effective in her role as the bitter nurse who is out to punish all Japanese because of the loss she has suffered. Despite the reported tension between Claudette Colbert and Paulette Goddard during filming none of that shows on veil as the main three actresses work very effectively together as the one team. One last standout in the cast is actress Mary Servoss who plays Capt. “Ma” McGregor the lead of the camp and in ultimate charge of all nursing staff. Her lovely scene where she faces the death of her wounded son is a stunner and the emotional highlight of the whole film.
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Passed off as Hollywood’s removed belief of what war is like, “So Proudly We Hail”, offers considerable more than that and contrary to current opinion in a number of scenes where appropriate, the women do note what the wear and toddle of war work does to the individuals. I acquire the film a considerable depiction of war and the fright it causes. Mixed with horrific scenes such as Lt. D’Arcy’s suicide are gripping ones like the simple Christmas celebration on the boat and the scenes showing operations being conducted lawful in the middle of air raids. These can’t attend to travel the viewer and instill even in the most hardened cynic a thought in the basic agreeable of man. A accurate sage is how I would report “So Proudly We Hail”, and a film I recommend to anyone who believes in the power of a person’s inner strength to beat outside adversity.
If they are bringing THE HIGH AND THE Powerful to DVD finally, then maybe it’s time to unravel the complications surrounding this film and feature it on DVD. SO PROUDLY WE HAIL is one of the greatest of all war movies, and because it is told from a woman’s point of conception (so to mumble, it collected had a male director in the person of Price Sandrich) it is sometimes ridiculed and derided, usually by armchair critics who should whisk a mile in a nurse’s shoes before courageous to denigrate her bravery under fire.
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Claudette Colbert plays Janet Davidson. An unique choice for a nurse, Colbert eschews most of her usual glamor (except for the San Francisco embarkation) and really gives herself to the fragment. Colbert is often excellent when she has to play against strong women, and here Sandrich surrounds her with a gallery of independent types, the intention Francois Ozon made Catherine Deneueve shine in the modern 8 1/2 WOMEN. Janet is a born leader even though she can only be photographed on one side of her face, which somewhat limits her utilitarian duty during battle scenes. Even covered with grime and jungle grease, Colbert unexcited can turn heads, and when she meets George Reeves, the sparks ignite, hot enough to burn Corregidor down to the ground.
Veronica Lake plays up her dim side playing Lieutenant D’Arcy, a time bomb honest waiting to explode. Often seen as soignee and entertaining, with that cute fringe of hair playing peekaboo with her eyes, Lake here is going for a Cornell Woolrich-style vengeance against the Japanese. If Tarantino had made Destroy BILL in the 1940s Lake would have beat Uma Thurman in the role easily. She’s hotter than a pistol and she’s Ms. 45.
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Paulette Goddard has, I believe, the most tantalizing role and I agree with other reviewers who say this is Goddard’s best fraction. While Colbert and Lake really honest maintain the same acting region throughout the movie, Goddard’s character has to change, so that viewers contemplate her conventional from a soar by night flapper with only men on her mind, to a woman with a heart who lives to assist others, not unbiased sign them with her oomph. It’s harder than it looks to straggle that line, but Goddard pulls it off without a whimper. Often cast as the sexpot pure and simple, or the gold-digging mantrap she apparently was in sincere life, Goddard is entirely persuasive in her role, and like Lake, she’s a natural at action scenes. I want her to be my nurse. Her romance with “Kansas” is kind of cute too.
All in all, an underrated movie with the kind of place that screws in deeper and deeper, unbearably tight, like DAS BOOT, except situation in the Pacific.
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Stream Lost in Translation Online
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Stream Lost in Translation Online.
Movie Title: Lost in Translation Lost in Translation is available for streaming or downloading. |
Bill Murray is Bob Harris, a once celebrated American actor who now, in his middle-age, has found more acceptance and money from the people of Japan than from his bear country. He arrives at a prestigious hotel in Tokyo and is given a royal treatment by his greeters and hosts. He is by himself in the land of the rising sun, his wife and kids having stayed behing in the US while he travels across the globe to do some liquor commercials. This Tokyo excursion will pick about a week, and the monetary reward will be quite fair. Difference this with Charlotte (Scarlett Johansson), who is at the same hotel tagging along with her photographer husband, John (Giovanni Ribisi), as he does a multiple-day photo shoot. John is at work most of the time, and so Charlotte is by herself at the hotel, her attempts to retain from being bored proving fruitless. Both Bob and Charlotte are married people, but they are also very lonely people, and that is what “Lost In Translation” is all about.
Bob and Charlotte score glimpses of one another at different places in the hotel, and finally choose to announce in earnest at the hotel bar. The entire space of the film is about these two people getting to know each other. The tale revolves around them. In fact, the memoir *is* them. Bob, in his early-fifties, is extinct enough to be Charlotte’s dad, but that doesn’t matter here. It’s not about age. It’s about the space, and the points that each of these people are at in their lives. Bob loves his children very considerable, but we do not sense he feels the same for his wife. We hear her on the phone when she calls him, and the same weary sentiment seems to lag from her squawk. They are becoming a couple in name only. Then there’s Charlotte & John. Both are young, and both are self-possessed. John is into his photography to the point of neglecting Charlotte. But we bag the concept that even if gave her more attention, Charlotte might not really warm up to him. She has issues of her have. If Bob is going through a mid-life crisis, then Charlotte seems to be going through a young-life crisis.
“Lost In Translation” is about being alone. Loneliness doesn’t always mean that someone is physically separated from loved ones or from people in general. One can be alone in the middle of a crowded room. Such is the case with Bob & Charlotte. They’re in Japan for a week. They don’t really philosophize the language. Bob’s wife is in the US, and Charlotte’s husband is always at a photo shoot. The two lost souls collect each other at the hotel, expend time with one another, and even sleep in the same bed together. But we know that while this is providing a miniature comfort for the time being, it is not a lasting solution to their problems. And we also understand that both Bob and Charlotte — even if Bob’s wife were in Tokyo with him, and John was by Charlotte’s side all the time — would collected be lonely. Their life struggles lie deeper than what one person can provide, especially the persons they have chosen to resolve down with.
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This is probably Bill Murray’s most understated performance, and it works brilliantly. He lets you in on Bob’s emotions without betraying too considerable sentimentality. He conveys so distinguished with fair a smile, a frown, his body language, or simply the contemplate in his eyes. He should fetch an Oscar nomination for this. Scarlett Johansson, who left me unimpressed in the movie “Ghost World” a few years ago, is first-rate in her role here. She portrays Charlotte as a deep, stunned, yet brilliant young woman and, like her co-star, does it without overstating it. She spends mighty of her cloak time walking around a hotel room in her pink panties, and does it so simply and matter-of-factly that it becomes both vulnerable and sexy at the same time. Johansson is definitely an actress to ogle for in the coming years.
Sofia Coppola has succeeded in creating a sliver of time & site with “Lost In Translation”. It creates two of the most realistic characters to ever grace the cinema. You forget this is a movie, and open to really care for these people as though they really exist. And you rep the feeling that this is a single, solitary moment that will be over with and then fondly remembered by the characters for a long time to reach. This sweeps over you before the film is even over, grand like when you are in the middle of a special occurence or event in your absorb life, and you discontinuance and consider about the fact that at one point – very soon – it will finish to be the expose, and will instead become only a nostalgic memory.
And there you have “Lost In Translation”
This movie is tiresome paced. However I didn’t gather it lifeless at all. I loved the scenery and the runt glimpses into everyday Japanese life, all meshed together with this admire yarn of two people brought together by loneliness and uncertainty, with a musical soundtrack that brings out the best in all of it.
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Buy,Download, Or Stream Lost in Translation! Click Here
After watching this film, the first thing that sprang to my mind was that I’m so joyful I don’t rely on Amazon reviewers to gain a decision about whether I am going to witness a film or not. That’s almost as tiring, as asking a fifteen year traditional to sit through it and not go crazy or pass out. This film is too customary, dealing with grown-up questions, situations and problems that the kiddies here have yet to pick.
Bill Murray’s character is going through a midlife crisis; Scarlet Johansen’s is tormented that she cannot seem to recognize her purpose in life. Both are trapped in a state where they know no one, and understand nothing. They gravitate to one another and topple into a kind of appreciate that is very recent, but also not at all odd under the circumstances. They don’t pursue it physically, because they live in a true world with staunch consequences and have to respect the promises they made to people they both calm care for.
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No kid unusual out of tenth grade will ever be able to comprehend these emotions… no wonder most of these reviews are from people who were bored stiff. “No sex? No violence? This movie SUCKS”, seems to be the method it works with these Amazon reviews.
Too poor. Maybe when they all grow up they’ll obtain it. I recommend this movie to grown ups who like minimalist dramas and romantic comedies. If you’re expecting a samurai to jump out with a sword, pass this movie up. This film is about human emotions.
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Streaming Baby Boom Online
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Streaming Baby Boom Online.
Movie Title: Baby Boom Baby Boom is available for streaming or downloading. |
This review refers to MGM’s DVD edition of “Baby Advise”…..
They call her “The Tiger Lady”. She’s a woman of the 80′s.She’s a high powered ad exec,with a six figure income,has an apartment to die for, which she shares with her critical(but slightly plain) other(also a six figure income),and is about to become a partner in the firm.She’s J.C.Wiatt,a precise go-getter. She has it all. Or does she?
Diane Keaton turns in a touching and amusing performance as this dynamic woman, whose life is suddenly turned upside-down by a surprising inheritance. No, not money or a family heirloom, this inheritance is “Elizabeth”….a bouncing bundle of joy who melts the heart of the Tiger Lady and will melt yours as well.A toddler was not share of J.C.’s thought.How will she juggle her career and motherhood? And what about romance,can that ever be piece of her future now? It doesn’t ogle noble. But when life hands J.C. Wiatt lemons(and a baby) …she does it her map…she makes applesauce!
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Written by Nancy Meyers and Charles Shyer(who also directed), it is a nostalgic peep attend at the evolving baby boomer.A profitable supporting cast includes Harold Ramis, Sam Wanamaker,Sam Shepard, and James Spader as the protoge from hell. It’s a sweet and humorous feel beneficial record. The music by Bill Conti gives the perfect feel to the anecdote.
The DVD is presented in widescreen(1.85:1) and the sound is in Dolby Digital stereo surround. The characterize is advantageous. Not the shaprest I’ve seen on a film this new, but a nice opinion.The surround sound is nice. The music and dialouge both distinct and disguinishable.There is a theatrical trailer and it may be viewed in French(also stereo) and has subtitles in French and Spanish, but none in English. If you are enthusiastic in this film and are needing English subtitles, there is a German edition(PAL) with English captioning out there. I did not gaze it sold here at Amazon though.
“Baby Announce” is a fun romantic comedy that was nominated for Golden Globes for Best Motion Describe(Comedy/Musical) and Best Actress(Comedy/Musical) .4 stars.
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Thanx and bask in……Laurie
Baby Swear remains one of my approved funny movies — featuring so many enticing and humorous elements, it is like a terrific turkey sandwich the day after Thanksgiving, with loads of mayo. Diane Keaton, always one of my personal favorites, displays her usual charm and actually makes you laugh out loud at many points throughout. Her Tiger Lady is one of the best caricatures of a shark-like corporate female ever, and her blossoming softness, courtesy of that adorable baby girl, is a joy to glance. The settings, from the hustle-bustle of a cheerfully skewed Manhattan office and environs, to the Christmas-card perfection (but don’t be fooled!) of a Vermont farmhouse, pull you in, and add color to a predictable but comic site. Sam Shepard lends his trademark subtlety and attractiveness as a Vermont vet. This movie is hard to resist.
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Stream Walk on the Wild Side Online
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Stream Walk on the Wild Side Online.
Movie Title: Walk on the Wild Side Walk on the Wild Side is available for streaming or downloading. |
Last evening, I skipped the obsolete televised holiday fare and watched Edward Dmytryk’s “Poke On The Wild Side” (Columbia Pictures, 1962) . Let’s impartial say that the next time you’re having friends over for melba toast and you’re looking for the perfect over-the-top extravaganza to project on to the living room wall, this should be the featured attraction. Barbara Stanwyck is the lesbian owner of a Novel Orleans brothel known as “The Doll House.” Glamorous Capucine (a 60′s version of Garbo) is the most approved call girl since Holly Golightly and coveted by both her butch madame and a drifter named Dove (not kidding) played by the inscrutable Laurence Harvey. Add a youthful Jane Fonda (in her bulimic period) and a miscast Anne Baxter as a Mexican diner owner (cascading unlit wig, inauthentic accent and all) and you’ve got one mesmerically provocative flick. Oh, did I forget to mention that the entire thing kicks off with a title sequence in which two felines (one shadowy, one white) seize in a vicious catfight punctuated by Elmer Bernstein’s pulsating jazz gather? Meow! They certain as hell don’t accomplish e’m like this anymore! – Stamp Griffin (“Genre” Magazine)
Elmer Bernstein’s graceful Jazz theme and Saul Bass’ sensuously lyric opening credits state the tone for this legend of Dove Linkhorn and his search for his lost savor Hallie Gerard through the tough underbelly of 1930′s Fresh Orleans. These opening shots of a wait on cat prowling through an alley are justifiably considered one of the best credit sequences ever filmed. Cinematically sublime and well worth the viewing.
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What follows is a high melodrama space in a brothel called the Doll House, where Dove, Hallie, Kitty and Madame Jo Courtney meet their various tragic ends. As directed by once gloomy listed director Edward Dmytryk “Trip on the Wild Side” is a full-blown ragged style drama that is chock plump of finely tuned musty style performances.
Cast against character Laurence Harvey as Dove tackles his roll as a treasure sick Texas cowboy with more than his usual cold advance. He manages a plausible Texas accent and turns Dove into a man of fire and misguided passion. He makes it believable that he is the kind of guy that the women he meets with the exception of Barbara Stanwyck get it hard to resist. This is no mean feat for the thin aristocratic British actor.
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French beauty Capucine seems almost too refined at first to play Hallie the artistic and wounded object of Dove’s affection. But as the film progresses she delivers honest the true blend of tragedy and pathos of a girl lost in the world of prostitution.
The accomplished Anne Baxter makes her presence known as Teresina Vidaverri the Mexican café owner who helps Dove and along the draw also falls for him. Miscast in an age when Hollywood had most major roles of Latinos played by non-Latinos she is tough, tender and manages to be believable in the role.
Jane Fonda appears as the spurned unpleasant girl Kitty. She walks the wild side with abandon and shows her range as an actress in this, one of her early rolls. Sexy, slinky and utterly gross her Kitty is pure fun as in her desperation for Dove’s affections carries the turn of events for him and Hallie to damnation and loss.
When Barbara Stanwyck comes on the camouflage she steals the record out from under all concerned as Jo the lesbian Madame who looses her icy over her unrequited passion for Hallie. It is a classic Stanwyck performance elephantine of all the power and history of this tremendous American star. In her speech to Hallie about what esteem is she shines as she reveals her enjoy tragic past. This was the first American film to prove a lesbian on the hide and Stanwyck presents us with a staunch woman chunky of strengths and flaws that is worthy more than one would ask from a happy character in mainstream Hollywood of 1962.
Joseph MacDonald captures all the heat and steam of Novel Orleans with his quick-witted gloomy and white cinematography. The out of time early 60′s costumes by Charles La Maire are aesthetic in their range from rags to high class call girl glamour. Bernstein’s astounding procure is one of his best and adds the apt touch of jazzy glitz to the drama.
“Trot on the Wild Side” is one hell of a streak and well worth the admission stamp to the Doll House.
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Stream House on Telegraph Hill Movie Online
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Stream House on Telegraph Hill Movie Online.
Movie Title: House on Telegraph Hill House on Telegraph Hill is available for streaming or downloading. |
The House on Telegraph Hill may not be an A thriller, but it’s a B-plus thriller trying hard. It has an gripping premise, characters who may not be who they seem, a immense locale in San Francisco and a titanic, shadowy mansion.
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Victoria Kowelska (Valentina Cortese; spelled Cortesa in the credits) is a Polish survivor of the Belsen concentration camp. Her husband was killed by the Germans and her home in Poland has been destroyed. Honest before the camp is liberated her closest friend dies. This was a woman who had a wealthy aunt in America. Victoria’s friend managed to smuggled her baby boy out of Poland and to the aunt impartial as the Germans invaded. Given a chance at a modern life in America, Victoria grabs for it. She uses her friend’s papers to choose her friend’s identity. After spending time in a relocation camp, she learns the aunt has died. She makes her scheme to America and in Novel York meets the boy’s guardian, Alan Spender (Richard Basehart) . The boy will inherit the aunt’s riches when he comes of age. Spender, who has adopted the boy, is initially suspicious of Victoria, but then he seems captivated by her. Victoria believes that she can esteem the boy as her maintain and fetch security with Spender. In a whirlwind decision they marry, return to San Francisco…and then suspicious things open to happen.
If Victoria is not who she pretends to be, it may be than Alan Spender isn’t either. Hovering in the background and living in the mansion on Telegraph Hill with them is Margaret (Fay Baker), the boy’s nanny. Margaret is a tightly injure woman, controlling, and is not gay with the marriage. Into this mix drifts Marc Bennett (William Lundigan) . Before long, he and Victoria launch finding their contrivance toward a relationship of their possess.
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The movie has several things going for it. Robert Wise, the director, takes his time setting the scene with Victoria, letting us know how her feelings for security were formed at Belsen. The action moves step by step, slowly and steadily building up our suspicions about Spender, leading us on to disapprove Margaret and making everyday actions like driving a car or drinking orange juice something to be wary of. The film is carefully photographed to originate mood. The intellectual San Francisco days and the busy streets of the city inequity nicely with the gloominess and tension in the veteran mansion.
What keeps this out of the A list is, I consider, the actors. They all do blooming jobs but there unprejudiced isn’t the camera-catching interest that many first-rank star actors can bring to a role. Cortese is effective and sympathetic. Basehart does a skilled job of slowly letting us inspect miniature, disquieting emotions. He was a skilled actor but somehow seemed to lack the charisma that makes putrid or derangement attractive. Lundigan was a enormous, resplendent guy but who always seemed like the extra man invited to gain out a dinner party, elegant but not mighty there. Fay Baker, however, nearly manages to seize the movie. Her role is more complex than we’re led to possess, and she pulls it off with skill.
I’ve always admired Richard Basehart even if I seldom found any individual role he played, especially later on in his career, very appealing. He always turned in a solid performance and he was versatile. When he started out in movies he managed to land several roles in inspiring movies that helped save his career. On DVD check him out in He Walked by Night (1948) as a very chilly criminal or in Reign of Dismay (1949) as a paranoid Robespierre. He steals every scene he shares with the movie’s hero, Robert Cummings. On behind night cable you might fetch a chance to stare him in Decision Before Dawn (1951) as a sympathetic army officer dealing with a German POW, Oskar Werner, or in Fourteen Hours (1951), a flawed film with some profitable performances, or in a supporting role in Narrate Performance (1947), his first movie. Command Performance is a gem; a woman kills a man, runs to a friend for assist, and when she arrives realizes that time has moved support a year. She has a second chance, but will anything she do produce a dissimilarity?
Some call The House on Telegraph Hill a noir. It isn’t, in my idea, especially with the term “noir” now seen as a mountainous marketing plan to sell ancient movies. It’s a skillfully place together psychological thriller with a big premise. The DVD recount looks safe and there is a commentary track, which I didn’t listen to, by Eddie Muller. He’s listed as being a distinguished film historian.
Intent on making a star with this vehicle out of the current Italian actress Valentina Cortese, Fox opened up its coffers for THE HOUSE ON TELEGRAPH HILL and also former some of their finest technical talent: the gowns, the sets, and the cinematography are absolutely first-tier, and the director, Robert Wise, does his usual shiny tricky work with editing to do this woman – in – jeopardy film extraordinarily compelling. The script seems to be a mélange of several 40s melodramas, including REBECCA, GASLIGHT, DRAGONWYCK and (most of all) SUSPICION, but the film’s profitable exercise of its San Francisco locale helps tremendously, as does Cortese’s astonishing performance as the guilt-ridden concentration-camp survivor who steals another woman’s identity.
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Watch Andrzej Zulawski’s La Femme Publique Online
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Watch Andrzej Zulawski’s La Femme Publique Online.
Movie Title: Andrzej Zulawski’s La Femme Publique Andrzej Zulawski’s La Femme Publique is available for streaming or downloading. Click Here to Stream or Download Andrzej Zulawski’s La Femme Publique |
Wow! The transfer of this film is astonishing! Prior to last night I’d only seen LFP on a shaded Canadian vhs rental and an equally murky (visually – the memoir is another matter) Asian dvd release – both sans subtitles. Even with inky shadows and soupy colors I was so taken with this film – the account, the direction and the performances that I signed up for this release the day I got the Amazon glimpse! Now, finally seeing LFP as it was originally intended, I am amazed at how grand the overall impact of the film is intensified – and LFP is blooming high voltage even in half-light!
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Previous reviewers have laid out the storyline, so I’ll omit a synopsis of Ethel’s glide to her stout shatter as an actress. Suffice it to say, Zulawski is a master at taking what is essentially an over-the-top legend, setting it in a specific historical context, and then making it chillingly steady.
As to the extras, the essays and transcribed 1984 interviews (what tipped me to the premium ed) are engaging and well worth the extra cost. Challenging to project on where many of the principals are now compared to their comments made almost 25 years ago.
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Zulawski’s commentary and on-camera interview give the viewer a search for into his attitudes and philosophy of film direction as well as specifics about making the film and creating an adapted screenplay. Gripping for film buffs; invaluable to screenwriters. The soundtrack is a stand alone bonus I didn’t inquire of to bask in this great. Now it’s on my favorites play list.
There is no fluff here. The Premium Edition is crammed with tall stuff not the least of which is a wonderful transfer of a truly engaging film.
Way to go Mondo Vision… so what’s next?
La Femme Publique (The Public Woman) (1984) is the epic of aspiring young actress Ethel (played by the sparkling and versatile Valérie Kaprisky), who by accepting a role in a film based on Dostoyevsky’s ‘The Possessed’, directed by controversial Czech filmmaker Lucas Kessling (played with wintry icy and raving madness by Francis Huster) is sucked into a world of manipulation, political conspiracy and confusion.
There are many subplots in this film and the line between reality and acting is blurred for both Ethel and the viewer, but this doesn’t detract from the beautifully mild shots, visual style and colors or the film itself.
This was the first film I’ve viewed by Polish director Andrzej Zulawski and it has left me impressed. I’ll definitely be seeking out more films by him.
Video/Audio:
The Hi-Def Anamorphic film transfer (current by Zulawski) retains the film’s novel 1.66:1 ratio and was undertaken by gifted UK videophile David Mackenzie (http://www.lyris-lite.net/) and it is a visual feast – spruce, vibrant, film-like (grain!) and overall – wonderful. The audio is crisp and well-balanced.
Supplements:
Commentary with Zulawski
An engaging interview with the director where he talks about, among other things, co-writing the film with the Dominique Garnier, author of the unique recent.
Trailer
Image gallery
Package:
Here’s the other site (besides the film transfer) where this DVD really shines. The Premium Collector’s Edition packaging is absolutely graceful. It is gloomy box with red holo-foil stamping, colossal artwork, 10 B&W photo reproductions (with their possess envelope), a Certificate of Authenticity (ltd. to 2000), a CD soundtrack (track list is included) remastered by composer Alain Wisniak (I am a spacious fan of DVD sets that include this) AND a glossy 48-page booklet featuring an essay by Daniel Bird (who moderates the DVD’s Commentary) and interviews with the director and cast members from 1984. Best of all the whole package fits on your DVD shelf next to all your other standard clam shell cases (it’s only slightly larger overall) .
Final Thoughts:
This is a perfect film for fans of unconventional/drama/art house/indie/foreign flicks. Thank you Mondo Vision, this DVD location gives Criterion a rush for their money. Here’s hoping for more quality packages from this company. I only wish more films were treated this well.
HIGHLY RECOMMENDED.
****/***** for this erotically charged drama
*****/***** for the Premium Collector’s Edition DVD by Mondo Vision
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Watch Terminator: The Sarah Connor Chronicles – The Complete Second Season Online
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Watch Terminator: The Sarah Connor Chronicles – The Complete Second Season Online.
Movie Title: Terminator: The Sarah Connor Chronicles – The Complete Second Season Terminator: The Sarah Connor Chronicles – The Complete Second Season is available for streaming or downloading. |
Warning! Multiple spoilers!
As I write this review, impartial after the demolish of TERMINATOR: THE SARAH CONNOR CHRONICLES, the future of the expose is very hazardous. The ratings after the show’s depart to Friday night in February 2009 were never strong, although it persistently ranked #1 among shows having the largest percentage of their viewers watching via DVR. The brute fact is that TSCC did not lack for viewers; it lacked for live viewers during broadcast.
I hope very grand for a Season Three of TSCC. This was easily one of my celebrated shows for the 2008-2009 season. When it was on Monday nights, I watched it live rather than either CHUCK or GOSSIP GIRL, two shows that I appreciate. When it moved to Fridays I intentionally stayed home to explore it (and then for six radiant weeks DOLLHOUSE and BATTLESTAR GALACTICA, for what was perhaps the finest nights of TV I’ve ever experienced) . Although the expose lagged a bit unbiased after its midway point (unfortunately apt when it moved to Fridays), it remained persistently spirited for the entire year. If I had access to a button that would allow me to resolve between either having the upcoming film TERMINATOR SALVATION or TSCC vanishing, then we would never have the movie but would procure a Season Three of the TV series. My preference is based on a fancy of character development and a richly articulated chronicle, neither of which is possible in a 120-minute movie. Besides, most movies rapid degenerate into a special effects extravaganza, and the previews of TERMINATOR SALVATION definitely leads one to apprehension that that is precisely what we will accumulate this summer.
I do have a couple of complaints with the TV series. I deem that the writers sometimes allowed it to toddle a bit in Season Two. And while I’ll grant that “Sarah Connor” was in the title and that John Connor is ultimately the crucial character in the Terminator saga, far and away the most spirited character on TSCC was Cameron. Most of the weaker episodes were primary for having slight or no Cameron. Most of the truly mammoth moments on the point to had Cameron front and center.
Let me interrupt myself to whisper that if you DON’T WANT TO BE Inferior, to not read any futher!
Season One focused primarily on tracking down the possessors of a computer with an advanced AI named “The Turk” (the name alluding to a well-known 18th century chess playing machine in the shape of a Turkish male that vanquished many opponents before it was revealed that it was a hoax, a chess master actually hiding inside the machine) . That apparently accomplished, Sarah, John, and Cameron embarked on a series of clues that led them to the ZeiraCorp, headed by a shape shifting terminator played by Garbage lead singer turned actress Shirley Manson. One of my well-liked things about Season Two is that for nearly the whole season we are led to enjoy that Catherine Weaver (Manson) is an defective Cyborg. After all, she kills numerous individuals and resurrects deceased detestable Cyborg Cromartie to relieve as the body for John Henry, the tidy computer that her company is building. But in the season (series? ) finale she is revealed to be on the side of the angels. Or is she? Given an easy opportunity to ruin John and Sarah, she not only does not do so, but saves their lives. And both John and Sarah seem to retract her at her word. All season long viewers had been looking forward to a Weaver/Cameron encounter, but instead we view Weaver insisting that she is fighting SkyNet, honest as they are. The whole status is further complicated by Cameron apparently refusing Weaver’s offer to join her cause. The fact is that at the waste of the season Cameron and her agenda remains a total mystery.
For the past year I’ve been engaged in a detailed gape of robots in the history of epic, literature, film and television. TV robots and Cyborgs have been widely prevalent but also not terribly complex. I deeply like a character like Sharon Agathon on BATTLESTAR GALACTICA, but Sharon is so clearly human – even if a Cyborg – that she doesn’t really challenge our opinion of human/robotic relationships. She looks like us, acts like us, and feels like us. It is difficult to say in what essential sense that she isn’t as mighty as a person as any human. Cameron is perhaps the most complex, bewitching robot/Cyborg we’ve ever seen on TV. Summer Glau brilliantly portrays her as something both more than and less than human, something undeniably outlandish and “other.” She apparently lacks feelings, yet definitely has her absorb motivations. She is a machine, yet at times seems eerily human, such as taking anguish over her toe nail polish or practicing ballet. She even tries, in one Season Two episode, to manufacture a friend of her gain. Seeing her earn her very uncommon overtures to a wheelchair breeze guy is one of the strangest things on the display, including her telling him that the cancer that he previously suffered from has returned. Though she intends it pleasant, she doesn’t buy why her telling him something that she shouldn’t be able to know and that he finds so emotionally devastating effectively ends their friendship. Even odder is that the sudden ending of their relationship seems to have no impact on her. There is absolutely no examine that within the next half-century robots will initiate to play an increasingly considerable social role in human life. In Japan especially scientists are working hard on companion robots for children and for the elderly. It is impossible to imagine that they will not also play a role with many other humans as friends (most people assume their dogs to be friends and they can’t talk like robots are on the verge of being able to) and even romantic companions. Cameron is the only robot on TV that I know of that raises many of the questions about robot/human relations that will be increasingly pertinent in the coming decades. If TSCC is not renewed for a third season, ending Cameron’s fable will be one of the large losses on the expose. At the waste of Season Two she remains a complete mystery. I personally want that mystery resolved.
Though we didn’t need additional proof of it, TSCC is yet another example of the fact that there is absolutely no connection between quality, viewership, and renewal in American television. It is further proof of impartial how broken commercial TV is. The brute fact is that TV series are, from the corporate point of understanding, vehicles for commercials. If they provide a platform for a substantial number of people to examine the commercials that are the economic heart of the shows, they are in the eyes of the networks big shows. Absolutely abominable shows like TWO AND A HALF MEN or the endless police procedurals on CBS illustrate this. I’ve never seen a respected TV critic with a kind word for TWO AND A HALF MEN, yet it remains the most watched half hour comedy on television. Thus, it is the best platform for advertising. PUSHING DAISIES was cancelled at midseason despite more notable acclaim than any other series on the four major networks. Perhaps for fans of television the major networks have outlived their usefulness. If they can’t pick up a residence for a present as aesthetic as TSCC on their schedules, it is proof that TV is broken. FOX eats up enormous gobs of its schedule with the unceasingly unpleasant AMERICAN Indolent while NBC has eliminated five hours of scripted TV in the 2009-2010 schedule so that they can hand it over to the untalented and tiring, Jay Leno.
But it isn’t the networks that are to blame. It is the American TV viewer. As long as we tune in to AMERICAN Inactive, various reality dancing shows, TWO AND A HALF MEN, and police procedurals, they are going to sustain giving us crap. I am a radical on this. I actually reflect that there is an ethics of TV viewing. I honestly bear it is nasty to ogle 20/20 or TWO AND A HALF MEN and that it will be unconscionable to gape Jay Leno’s modern series. Or if you must search for these substandard shows, at least DVR them. As long as they are the best vehicles for commercials, we are going to continue to lament the cancellation of the better shows and the unceasingly continuation of critically unacclaimed and artistically empty series.
The one reason for hope for TSCC is the film TERMINATOR SALVATION, which is likely to be the biggest box office hit this summer. This past year Warner Brothers negotiated a smaller licensing fee with FOX, which was a factor in its renewal. Perhaps the film in combination with a similar deal from Warner Brothers could lead to another season. We can hope.
My wife and I are picky about what we gawk on TV. There are honest a few drama shows about which we care. I would burn my 65 straggle HD-TV before I would glimpse one of these “reality” or American Idol type shows.
On the other hand, we can hardly wait for each current episode of “Sarah Connor.” The actors are astonishing and the characters are well developed. From the stale FBI agent to Summer Glau’s character, they do their parts so very well. If we are out of town or otherwise not home we report the display.
I hope the present will last a long time but I hope, while they calm have the actors together, whenever it leaves TV they will create a two-hour wrap-up for big-screen movie release and not leave us hanging as some capable shows have done.
I’ve bought the DVDs of the first season and will engage any future DVDs as hasty as they are available. We didn’t miss an episode because of the wonder of recording but I want them for the future. What immense TV and what astronomical drama.
Sen. Mike Fair
Retired Oklahoma Site Senator
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Stream Private School Movie Online
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Stream Private School Movie Online.
Movie Title: Private School Private School is available for streaming or downloading. |
If you’re looking for gratuitous T&A, this is one of the best of all time. Betsy Russell in this movie might quite possibly be the most radiant performance by any actress ever. Her bareback horseriding scene, the seduction scene, and the stained clothes so I better buy them off and let them soak scene are all nothing short of fear arresting. Add that to a bunch or other bombshell schoolgirls walking around naked (the shower scene is fair… wow), plus the fact you’ve got Phoebe Cates staring and I don’t know what more you could ask for in this type of movie. Plotwise it’s also comely silly with many laugh out load moments (although it’s hard to cease focused on that with what you’re looking at) .
I have fond memories of being a horny 13 year dilapidated and catching Private School on cable benefit in the mid-80′s and it had always been a movie I longed to peek have a DVD release. Well…that day has finally arrived and I’m here to mutter you that I must have been dreary as a rock at 13 cuz Private School might be one of the worst pieces of drek to roam out of the 80′s teen sex comedy toilet you’ll ever perceive…and it’s fabulous. Seek, movies can sometimes be an entirely subjective thing if you have memories attatched to them. Viewing this film nearly 25 years later I was instantly transported aid to my teenage years and I spent more time reminiscing about the 80′s, my first crush, the kids I hung out with, etc. than paying attention to the flick. That’s not a abominable thing really. The script is immoral, the actors are painfully unfunny (especially the guy who plays Bubba who I consume stinking up a lot of these teen movies) and the cheese-ometer gets cranked up a few notches when a song sung by Phoebe Cates plays over a montage that makes Baywatch perceive classy.
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Which brings me to Phoebe Cates…the sole reason this film even exists. Has there ever been another actress whose helpful looks radiate charisma when she herself is’nt really doing distinguished of anything? Don’t net me cross she turned out to be a gorgeous actress and her previous film “Posthaste Times At Ridgemont High” is about a zillion times better than Private School but truth is Phoebe Cates might have the most delicate face ever committed to film (which may elaborate why the Phoebe-Cult continued to this day) .
And yet….it’s Betsy Russelll who delivers the goods, who actually provides Private School with it’s truly sexy moments. Impartial notice the scene where she tries to seduce Matthew Modine by flaunting her perfectly toned legs in his face and philosophize me that she might not be the queen seductress of all time.
So if you’ve never seen this movie (and you’re under 30) you’ll probably wonder what all the fuss was about but if you remember 1983 and you remember waiting on line to play Pac-Man at the arcade, chances are you care for this film for reasons righteous taste can’t clarify.
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Stream Miss Potter Movie Online
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Stream Miss Potter Movie Online.
Movie Title: Miss Potter Miss Potter is available for streaming or downloading. |
“Because you are fond of fairy tales,” Beatrix Potter wrote to one of her approved children in 1901, “I have made you a memoir all for yourself, a current one that nobody has read before.”
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Now, a century later, “Miss Potter” (directed by Chris Noonan, starring Rene Zellweger) has a current myth to express, and quite a fairy chronicle it is, too, with all the appetizing magic of one of Beatrix Potter’s occupy stories: winsome characters, delicious settings, strong period details. I was charmed by this film (viewed on DVD, with all the extras), and spent an enchanted evening watching it. As a movie, it is splendid family entertainment–something that’s hard to reach by, these days.
But the film has been widely billed as a biopic, and if you were looking for a narrative that’s moral to Beatrix’s life, this one might mislead you. Richard Maltby (who wrote the script and spent some 10 years trying to come by it produced) and Chris Noonan have teamed up to give us a radiant fairy narrative, but one that is based on some fairly fundamental misrepresentations of Beatrix’s precise life.
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Take that account for Christmas party, for instance, in a festooned Potter mansion. This dramatically pivotal event could never have happened, for Rupert and Helen Potter were Dissenters who did not celebrate Christmas–much to Beatrix’s disappointment, as a child longing for a tree and the trimmings. (In life, both the Potters seem to have been noteworthy more dour people than their on-screen representations.)
Or remove those childhood visits to the Lake Districts, which never happened either. The Potters holidayed in Scotland until Beatrix was 16. Which means that she could not have met Willie Heelis, who was nearly five years younger than Beatrix, anyway (not older, as the film portrays him) . Oh, and Willie was the son of a rector and the Heelis family belonged to quite a different social class from the one in which Willie is placed in the film. More misrepresentation (although the on-screen Willie is a trusty charmer.)
But the most uncomfortable distortion of all is the decision to collapse the eight years it took for Beatrix to become independent enough to leave her parents. The film portrayed Norman’s death as the lever that pried her from the Potters’ choose. Not so. Beatrix bought Hill Top a few months after Norman died in 1905, but did not leave her parents until 1913, when she married Willie. For eight long, difficult years, Beatrix commuted from her parents’ home or holiday dwelling to Sawrey. During that time, she could accept away only five or six times a year, sometimes for a few days, sometimes for as worthy as a fortnight. Norman’s death was indeed the prod she needed to build a change, but it wasn’t until Willie offered her another choice that she was finally able to free herself. Compressing this long-running family conflict into a matter of months and hinging the whole thing on Norman’s death distorts Beatrix’s character and makes her seem more decisively “unusual” than she was in genuine life.
As a novelist engaged in creating historical fictions (some of them featuring Beatrix Potter), I am always aware of the challenges of representing genuine people in fictional contexts, and anxiety when accurate lives are seriously distorted to fabricate a yarn more intriguing. I enjoyed this film as a film, and give it five stars for its entertainment value. As a biopic, I’d give it a two, three to be marvelous. Putting the two together, a four-minus.
Oh, and for the actual memoir of Beatrix’s life, you’ll want to read Beatrix Potter: A Life in Nature by Linda Lear.
Susan Wittig Albert is the author of The Cottage Tales of Beatrix Potter: The Myth of Hill Top Farm (The Cottage Tales of Beatrix Potter), The Fable of Holly How, The Account of Cuckoo Brow Wood (Cottage Tales of Beatrix Potter Mysteries), The Story of Hawthorn House: The Cottage Tales of Beatrix Potter, and four other forthcoming novels in the series.
I saw this elegant film this past week in Chicago at a preview showing and was simply tickled by it. Only five years ago this would have been a Miramax film, but following the messy departure of the Weinsteins from Miramax to gain their contain production company, they are distributing this joint production. Plot in the early decades of the twentieth century, in a sort of extended Edwardian age, the film possesses a improbable period feel and recognize. Like the best of the Miramax films, it feels like a time capsule more than a contemporary production.
With only some shame I have to admit to quick-witted very slight about Beatrix Potter. To inject some autobiography, I was not read Potter as a child and though after my divorce I raised my daughter, reading to her constantly, there was an agreement that on her periodic visits to her mother she would be allowed to read her Beatrix Potter (because of a Potter obsession by her occupy godmother) and Laura Ingalls Wilder. I read my daughter every other children’s’ writer, but was forbidden to dip into either of those. So I saw this biopic colorful next to nothing about her. The film seemed to me to give a trustworthy impression of who she was. She emerges in the film as a sort of stunned feminist, not a activist, but quietly insisting on taking her gain path. Though there are flashbacks to her childhood and the final quarter of the film focuses on her lively to the Lake District, most of the film deals with the period of partnership and eventually romance between her and her publisher, Norman Warne. One suspects that of necessity a gargantuan deal is left out, but as it exists it is compelling. I did a bit of checking on the Internet and discovered that she was not 32 in 1903, so the film obviously fudges some numbers, but as presented the film unexcited provided a scrumptious portrait.
Renée Zellweger is astonishing in the title role. I have seen photographs of Beatrix Potter and there does not seem to be great of a resemblance between the two. To the film’s credit, they do a stout deal to de-emphasize Zellweger’s loveliness. She isn’t exactly listless, but she isn’t as attractive as usual. But she brings a delicious simplicity to her role. Ewan McGregor is handsome in his role, but unlike their unhappy film DOWN WITH Worship, his role is not equal to hers in this one. He manages to be everything he needs to be. Emily Watson plays his sister. There are movie stars and there are actresses, and she is an actress. I have always been amazed at great her various roles can differ from one another. A lot of actresses, unfortunately, as they reach the age of forty, have probably reached stop to the destroy of their career. Watson is so beautiful, however, and those broad eyes so expressive, that you sense that she probably hasn’t reached half of her eventual film resume. I’m clear we’ll be seeing her in roles thirty-five years from now. It was safe to recognize Bill Paterson as Beatrix’s father. He has always been one of my accepted supporting actors and for my money we have always seen far too shrimp of him. Stale British actress Barbara Flynn is respectable as well as Beatrix’s mother.
Chris Noonan directed the film. The last time we encountered him as a director was in one of the most palatable films of the nineties, BABE. I have absolutely no belief what he has been up to the past decade, but this film has some of the same lush watch that BABE did. Interestingly, animals feature prominently in both films.
The last piece of the film, that centers on the beginning of the final chapter of Potter’s life as a farmer in the Lake District, features some of the most heavenly landscapes you can ever hope to survey in a movie. The demolish of the film indicates that Miss Potter left 4,000 acres of Lake District property to the National Trust. I hope that some of those scenes were filmed on some of that property.
Finally, I want to add that while I’ve never been one to be on the lookout for “family” (which to me usually are synonymous with “tedious” or “bland”), this film, which could easily receive a “G” rating, is a film that any parent could feel comfortable showing any child. Younger children might net it a bit monotonous, but any fan of Beatrix Potter, whether young or ragged, will surely devour this film. Indeed, as someone who cannot count himself among her fans (entirely through a complete lack of acquaintance), I can attest that those exclusive with her work will treasure the film as well.
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Under Siege Lowest Price!
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Under Siege Lowest Price!
Compare & Purchase Under Siege at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
Under Siege Description:
- Amazon Sales Rank: #7984 in Movie
- Released on: 2009-12-18
- Rating: R (Restricted)
- Running time: 103 minutes
Customer Reviews:
Definitely Seagal’s best movie so far
Steven Seagal is finally coming to Scotland, Edinburgh specifically, to play with his band Thunderbox. Although he has a few more chins than he used to, my boyfriend is thinking of going to see him in concert, so what better way to celebrate the fact a major star is coming to Edinburgh, than to watch a movie?
I’m normally not that fussed about Mr Seagal. I own one of his movies (Marked For Death), but I’ve discovered, since watching this, that I have so much more respect for him when he doesn’t have that ponytail. Which just looks silly on a guy that big anyway. I knew I was going to be watching this, as it was “reserved” for watching on the brand new, HD DVD player that now resides in my boyfriend’s sitting room. It was my first viewing of a HD DVD and overall, I was very impressed.
Shock horror, you do actually get to see Steven SMILE in this film, which made me start to like him even more. Normally, he’s all serious. It did look like he was going to start dancing at one point, which would have left me cringing, but thankfully, he didn’t. Gary Busey and Tommy Lee Jones join him in this movie, including some female nudity from Erika Eleniak, who proves she can handle a gun that looks bigger than her. This is a very stereotypical action movie of the nineties, where terrorists take over whatever it is. In this case, it’s a very big naval battleship. Tommy Lee Jones looks like he came straight from the sixties to this point in time. There’s not much to the story, but Seagal saves the day, leading everybody along in the process to believe that he’s nothing but a lowly cook.
The HD is very impressive, looks great on a 50 inch big screen (some guys have cars – my boyfriend has all his TV stuff and DVDs), the picture has been remastered, and is brighter and sharper than you can possibly imagine. There’s no extras on this unfortunately, just a trailer, but some other HDs boast of in movie experiences etc. Shame they couldn’t have brought back Steven for a “look back on…” or a commentary, I’m sure it would have been worthwhile.
Definitely the best Seagal movie in my eyes. Get it, watch it!
clean scenes, when treated
I would say 90% of the whole movie was cleaned and sharpened for HD. Other 10% of random scenes exhibited alot of grain and snow. Still a major improvement over the DVD release that I have viewed multiple times. Only wished they cleaned the whole movie. You won’t miss the untreated scenes, extremely grainy. Otherwise, still a great movie in my opinion.
Don’t ask this cook for chops
They say the villain makes or breaks an action-adventure flick. But in UNDER SIEGE, it’s Navy-cook-turned-hero Steven Seagal, not villains Tommy Lee Jones and Gary Busey, who carries the film. Seagal’s quiet demeanor is the calm before the storm of karate chops for Jones, Busey, and the rest of the antagonists who pick the wrong ship to hijack. The martial-arts actor even proves funny in UNDER SIEGE, in his non-verbal way. When he’s not out-fighting them, he out-thinks them. The film ends on a weird note with the passionless kiss Seagal gives actress Erika Eleniak. See UNDER SIEGE – Steven Seagal mops the deck with those creeps, so who needs kissing, anyway?