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I think Crewes did her evil part very well she should have won an award. Anything that Dunne is in. is salvageable because Dunne is a great actress and can pull anything off, even a weak script. Therefore I WOULD recommend it for this reason alone. This movie may have been a little ahead of it's time, the plot might be more acceptable these days.<br /><br />During the golden age of Hollywood movies were meant to entertain or teach, mostly to make us feel good or cope with the times. This plot seem to deviate from that profile. Yet, again I must say what ever Irene Dunne was in, at least, was "good" because she made things so believable! The only other actress I can say made me think this way was maybe, Deborah Kerr. Watch Silver Cord if you get the chance for the "acting" if nothing else.

I saw this movie last night on HBO & didn't expect to get hooked - I usually fall asleep when I watch HBO. But it happened & you will too. It's a tragic documentary (2002 Oscar winner) about a murder of an elderly female tourist in Jacksonville, Florida and subsequent investigation, arrest, & trial of a 15 year old boy.<br /><br />Watch this movie today & get a feel for how we have progressed as a society. This film was most deserving of an esteemed Oscar - you'll be moved to tears.

Who won the best actress Oscar for 1933? It should have been Laura Hope Crewes for her magnificent portrayal of the most monstrous mother ever. She truly is one of the great character actresses of all time. She played the frivolous Prudence Duvernoy in "Camille" (1936) and her best remembered role is Aunt Pittypat in "Gone With the Wind".<br /><br />Irene Dunne was the "official" star of the film but her scenes with Laura Hope Crewes were dynamite.<br /><br />David (Joel McCrea) is in Heidelberg when he is offered a job in New York. His wife, Christine (Irene Dunne) can continue her studies at the Rockafellar Centre. Their first stop in America is a visit to David's mother, Mrs. Phelps. To say that Laura Hope Crewes dominates every scene is an under-statement. From her first entrance - in a frantic burst of effort to greet her "big boy" - all attention is on her. Even sitting around the tea table, when she forgets Hester's existence, even forgetting how she takes her tea, you know something is not quite right.(Hester has been living there for a while.)<br /><br />Frances Dee is completely sweet and so right in her role as the adorable Hester. Her performance in this film, especially the scene where she has hysterics and the aftermath proves how under-rated as an actress she was.<br /><br />All the young cast are excellent. Eric Linden is superb as Robert, the younger son who comes to the realization that his mother is horrible but can do nothing about escaping from his mother's spell. Joel McCrea, at one point says "painting roses on bathtubs - that's more your style". There is a very subtle suggestion in the film of Robert's sexuality.<br /><br />Irene Dunne is excellent in whatever film or genre she tried.

This story of the troubles caused by an over-possessive, overpowering, domineering and unscrupulous mother (Laura Hope Crews) for her two grown sons, and their girls, is a strong vehicle for stellar performances by Irene Dunn (the new daughter-in-law), Joel McCrea (the number-one son), Eric Linden (the number-two son) and Frances Dee (fiance of number-two son). Here's the show of the pure tyranny of mother's jealousy and possessiveness run amok as four good people find their owns lives damaged, their plans changed and their own identities in jeopardy. Irene Dunn is stellar in her role. Joel McCrea's performance is open and clear and Laura Hope Crews is masterful as the mother.<br /><br />Yet this reviewer finds Frances Dee's performance the best of all. Hers is the first character in the story to show the strength of her inner feelings. Her portrayal in her heartbreak broken-engagement scene is gut-wrenching, and even raw. Dee yanks the viewer around and drives you into her pain without even showing her face ! <br /><br />Frances Dee, like Laura Hope Crews, has been too long overlooked, and is now almost forgotten as the magnificent actress that she was. No actress who started in film after WWII has had anything to speak of on Frances Dee.<br /><br />If you're lucky enough to see The Silver Cord, which was never released for TV, you'll find this "old fashioned drawing-room drama" to be an outstanding film that shows very well 74 years after its 1933 release because it is filled with superb performances.

I really felt the movie was ahead of its time. The one potential daughter-in-law was such a strong, career oriented woman. She knew what she wanted and was diplomatic but firm with the over-bearing mother-in-law to be. The mother's role was played extremely well (you just loved to hate her). Her need to control her son's lives was neurotically evil. If you've ever been in a relationship where you've been judged and found lacking (and everybody involved knew it) this may hit too close to home. It's been years since I saw this movie and I remember thinking that this plot and dialog would work in a 50's or 60's movie. It is difficult to watch because of the mother and sons' dynamic but I would love to watch it again. I keep hoping to find it on one of the old movie channels but so far no luck. Attempts to buy it were also futile (I don't believe it's on tape or DVD).

Terrific acting by the 5 stars makes this one a must see.<br /><br />Based on a stage play, THE SILVER CORD is about "mother love" at its worst. The film was very controversial for its implied homosexuality of the younger son and the mother's unnatural "romantic" feelings for both sons.<br /><br />Irene Dunne stars as the new bride (and biologist) who travels with husband (Joel McCrea) to visit the family before heading off to New York City for their new jobs. But something seems wrong.<br /><br />The mother, Laura Hope Crews, seems rude to the younger son's (Eric Linden) fiancée (Frances Dee). But Dunne puts such thoughts aside and ignores a few of the strange things the mother says. Then she finds out "her" room is down the hall from McCrea's, and his room adjoins mother's room.<br /><br />Later she walks in as "mummy" is tucking in McCrea and kissing him (on the lips) good night. Mummy has also been working on Linden and getting him to doubt his feelings for Dee. Everything blows up and with Dee running into the snowy night toward the frozen pond. As the boys run after her, mummy shouts from the window for boys to come back and get their coats! Dee falls through the ice and is rescued.<br /><br />As the girls leave the house the following morning, Dunne lets mummy know what she thinks of her and her attachment to the boys. But mummy has a tight hold, faking illness and forever boasting of her sacrifices. The girls leave but the boys stay behind.......<br /><br />Crews is magnificent as the voracious mother (repeating her stage role); it's a part few actresses would dare play. The sexual overtones are incredible for a 1933 film and Crews take advantage of her best film role. Dunne is also excellent as she tries to maneuver the course without losing McCrea. Dee has some excellent scenes after she gets dumped by bewildered Linden. All 5 stars are terrific in this drama that is bizarrely underrated and unknown.<br /><br />A neglected gem for anyone who likes great acting......

Yikes! and we all thought Joan Crawford was THE horror Mommy Dearest...well Laura Hope Crewes as Mom in this stinging 4 character film delivers (and cops) the goods in this cracker of a marital Mommy mangle.....THE SILVER CORD is a genuinely sensational pre code drama from RKO made in 1932 released in '33 from a 1929 play. So astonishing, frank and honest is each startling verbal exchange between one son's wife (IreneDunne) along with the other's fiancé as these two younger girls together go to war - gleefully angrily unwrapping the clearly incestuous hankerings of Mom towards her hunky eldest son played by virile Joel MacCrea and her younger 'beau'/son payed by delicate and beautiful 25 year old actor Eric Linden. I would think this film played to many howling appreciative audiences in huge theaters in 1933 and offers viewers even in 2005 a very fruity melodrama enlivened by crackling dialog not afraid to call Mother exactly as she is. This film would have been impossible to make after the censorship code came in after 1934. Other viewer comments on the IMDb support my reaction and you will find almost everyone lucky enough to see (and tape) THE SILVER CORD will agree it is an unforgettable and pungent script in a superbly produced film. It would have played like the VIRGINIA WOLF of 1932. Laura Hope Crewes must have kissed the sound stage at RKO for this role of a lifetime..even more than her fluffy turn in GWTW. Irene Dunne is as gorgeous and casual and believable as ever, fighting for her husband yet again, and it is well worth seeing The Divorcée made in 1929 as a companion piece to THE SILVER CORD. Joel MaCrea is certainly in the same league as Cary Grant and Randolph Scott in the handsome and lovable stakes. I had never seen Eric Linden in a real acting role before (he played the leg amputee in the hospital horror scene in GWTW) and here he is startling and youthful with an excellent role as Robert, the younger and more sensitive son. Some verbal barbs leveled at him again would not get past the Code office if made later. This is a really good film, and if the viewer forgives some of the creakiness of its time and settles in for a sparring match of unequaled pungency for a 1932 movie, you will be well rewarded. At first I thought some of the throat clutching melodrama of Mother was dated until I realized it was a set up of the excellent screenplay to make the viewer laugh at her as though she is a weak little old lady......NOT..... but nor are the other two women in this powerhouse play on film, hence the fantastic retort dialog. That ocean-liner seen in reel one is THE LEVIATHAN the monster ship the US won from the Germans in WW1 that was so huge and unwieldy that crews were nervous wrecks trying to wrestle with it upon the Atlantic. It is infamous for ploughing headfirst up a colossal wave in a storm and shot over the crest at such an angle the spine along the bottom cracked and the ship split vertically between the funnels. It limped to port with rattling steel panels and winking rivet holes...and mentally shattered crew and passengers. It was scuttled in 1935 after being cursed and plagued with horror mechanical problems all its existence. Not such a war prize after all. <br /><br />Anyway, the dialog in THE SILVER CORD is enough excitement for one night: eg: "Mother! the Doctor said there was nothing wrong with you, in fact he said it would take a stick of dynamite to kill you". Whammo!

Broken Silence or "Race Against Fear"1998): Starring Ariana Richards, William Bumiller, Susan Blakely, Tracy Ellis Ross, Teryl Rothery, Scott Vickaryous, Marissa Rudiak, Ken Camroux, David Neale, Bruce Dawson...Director Joseph Scanlan, Screenplay Sara Charmo, Jean Gennis, Phyllis Murphy.<br /><br />This is another Lifetime channel film, made exclusively for television, released in 1998, directed by long-time TV series director Joseph L. Scanlan. Inspired by true events, it's a lot like the majority of Lifetime movies, a cautionary tale for women, raising awareness of the predator lurking within the family (a mother, father, wife, husband) and mentor (teacher, in this case track coach). The young and little known actress Ariana Richards (she played the small girl in Jurassic Park)delivers a highly convincing performance as high school track athlete Mickey Carlyle, who is raped by her coach, Kurt Ansom (William Bumiller) and must suffer in silence as no one believes her story, except for, of course, her own mother (Susan Blakely). Together, mother and daughter fight to put Kurt Ansom behind bars. The film drags on quite a bit, is ultimately predictable, at times far too melodramatic for the sake of drama itself, but is genuinely powerful in the end. Ariana Richards' performance is of the daytime soap kind, but she is the strongest in the entire cast. Her facial expressions, body language and overall acting is realistic in terms of how she, as an aspiring athlete, idolizes her coach, is in turn violated by him and must now live with the shame, trauma and further, fight him in court. William Bumiller plays the part with a nasty sort of duplicity, though he is far from subtle. He has abused other star athletes before, who have remained silent and made it to the top, and appears outwardly innocent. William Bumiller, a lesser-known actors like the others, has has never done a role like this but but he does a believable and strong performance overall. It's especially disturbing to see him in this role because he is a sexy lead actor in everything else he does including some lesser known films and on the soap opera "Guiding Light". The only real problem I had with this film is the manner in which the film is structured. As the film opens, we watch Coach Ansom about to rape Mickey, letting us know right away that this guy is no good. But this makes for weak character development and story. If the first scene had instead been the sequence with the opening credits in which we see Mickey running/jogging in the city across a lake, we would have better character development because we don't know that Coach Ansom, while seemingly interested in the success of his star athlete, is really a nasty piece of work and we would have seen Mickey idolizing a person whom she thought she knew and then received a rude awakening when she realizes she was wrong about him. Director Joseph Scanlan is no stranger to drama for TV (Knott's Landing, Star Trek, Quantum Leap, The Outer Limits, Lois And Clark, Earth Final Conflict and movies like La Femme Nikitta. In 1996, Scanlan had directed another Lifetime movie, similar to this, "Stand Against Fear" (1996). He manages to convey the gravity of the event. We are genuinely disturbed by the coach lurking around the showers where he rapes his own student. These scenes are graphic and ought to be viewed by mature audiences, but its message is clear: sexual predators and rapists are not always a stranger and can assume different forms, and their preying grounds can even include a high school. This film supports the cause of fighting to prevent violence against women and urges women who have been silent victims to testify and fight so that rapists will cause no further harm to others. Despite other negative reviews, this film does a great job in expressing its message and ought to be given to mothers, daughters, high school students (including both male and female). As bad as rape is, staying silent when it happens is even worse.

Race Against Fear has to be one of the most moving TV movies I've seen for a long time. All of the performances from the main actors were superb, especially that of Ariana Richards (Mickey Carlyle), William Bullimer (Coach Kurt Ansom), and Susan Blakely (Margaret Carlyle). Ariana in particular put on an extremely emotional performance, with facial expressions to match. She portrayed the emotions that Mickey was feeling perfectly, and you could easily believe that she really HAD been raped, so realistic was her performance.<br /><br />RAF is an incredibly realistic movie, due to the moving performances from the cast. Bullimer came across as a rapist incredibly well, and you hated him more and more as the movie progressed. Blakely also put on an emotional performance as the mother of the raped girl (Mickey Carlyle), and you felt increasingly sorry for the Carlyle family because no-one believed them about the rape.<br /><br />All in all, RAF is a great movie. It is both moving and full of suspense, as you are continually unsure if Ansom would be prosecuted for the rape, due to the lack of witnesses, evidence, and belief in the claim. I thoroughly recommend seeing this movie.

This film is probably Hal Hartley's best one. The subject, of a unusual originality, is treated (that's usual with Hal Hartley) with great humor. This characteristic isn't at all the only quality of this film: the fussy frame composition (everything is parallel, until the smallest details), shooting angles, lighting, giving a more supernatural dimension to these blurred images (Jesus' coming down couldn't be filmed in a conventional way), the falsely "poser" acting, are qualities that make this Bible re-reading, carried out in the form of an apocalyptic delirium, essential.

In this peculiar movie, the themes of the end of days and Satan versus Jesus are treated in a new fashion. Jesus doesn't want to open the two last seals, and Satan is thwarted in his attempt to get another soul into hell... Armageddon, Armageddon and Jehosaphat turns out to be a - company!, and the book of life is a little hard to open.<br /><br />What's memorable about this movie are the slanted image, out-of-focus shots and light effects, which are effective, but sometimes irritating. And of course, Donovan is great as a disillusioned Jesus trying to come to terms with what the world and its people have become! So, do see it if you get the opportunity!

In The Book of Life, Martin Donovan plays Jesus, who shows up at JFK airport on December 31 to usher in the new millennium by battling with Thomas Jay Ryan (Satan) and deciding the fate of the world. There is also David Simonds (Kurt the accountant from Amateur) as a compulsive, homeless gambler.<br /><br />As usual, Hartley creates a surreal world in which the beauty of the ordinary made strange and otherworldly flows through artfully-framed scenes and urban/industrial landscapes filled with dazzling light and shadow. As usual, he introduces seemingly incidental details early, then brings them back later in hilarious and unexpected contexts--the humor is simple, but giddy and irrepressible. Hartley has an amazing ability to build toward small and rapturous moments of the simultaneously mundane and outrageous. As usual, he creates a tone that is jaded and world-weary but at the same time, vulnerable, open, and honest. He moves within minutes from uproarious humor into language that is metaphysical and poetic-the kind of writing that is so dead-on and perfect that it's difficult to hold back tears despite the lack of obvious emotion. Another awesome and highly entertaining film. The Book of Life is shot (a digital camera?) with a blurry effect: a sense of the celestial hand-in-hand with impending doom and a hyper-awareness of the present as fragile and fleeting in it's last moments. All of Hartley's films have a way of prioritizing the present, but this unique effect compounds it as the images wash across the screen in a way that is at first jarring, but becomes increasingly beautiful as you settle into it. The final shot is spectacular. All this may sound precious, but the film is a comedy and it makes fun of itself even as it makes fun of the concept of Armageddon, Judgment Day, and `urbanity.' Although it is actually quite profound, moving, and life-affirming, it is for the most part lighthearted and playful. The acting is flawless in terms of the kind of the subdued tone that Hartley has developed in his films (a tone that some people don't get and that prompts them to judge such acting as hollow--the same people who have a negative response to Peter Greenaway). As always, there are bound to be people who respond to this film with cynicism and scorn-people put off by Hartley's abrupt shifts and what they see to be pretentious or mannerist techniques, but who has time to consider the opinions of such dull and callous fools? Anyone who is a Hartley fan will love this film-if they can get a chance to see it, that is. It's hard to say what it would be like on video.

"Lackawanna Blues'is so emotionally powerful in its portrayal of urban Blacks during the 50s and early 60s. A culture of joy and sadness specific to working class Blacks that existed outside the mainstream culture. The characters of Santiago-Hudson's play depicted Black individuals who lived imperfect lives but maintained strong positive values of love,loyalty and honor. Although the characters moved away from those values at times, they did not deny the importance of the values. Instead they recognized and accepted their own imperfection and those of the other characters, without judgment, that passed through the life of "nanny". The central characters were strong and believable, the settings were realistic and brought back personal memories of a by-gone era. Pre-integration urban life was a time of sensory intoxication, sight, sound,and smell, that could almost be experienced by watching the drama "Lackawanna Blues" unfold. I will watch it again and again.

This is an extraordinary film. As a courtroom drama, it's compelling, as an indictment on the American justice system, it's frightening. For Brenton Butler the consequences of this system could be devastating. This film highlights the fundamental flaws of the legal process, that it's not about discovering guilt or innocence, but rather, is about who presents better in court. In truth, the implications of this case reach beyond the possibility of an innocent man being found guilty, or a guilty man being free. Every citizen has a right to justice, whether a perpetrator or a victim. But do they get it? The film is well paced, understated and one of the best courtroom documentaries I've seen.

In The Book of Life, Martin Donovan plays Jesus, who shows up at JFK airport on December 31 to usher in the new millennium by battling with Thomas Jay Ryan (Satan) and deciding the fate of the world. There is also David Simonds (Kurt the accountant from Amateur) as a compulsive, homeless gambler.<br /><br />As usual, Hartley creates a surreal world in which the beauty of the ordinary made strange and otherworldly flows through artfully-framed scenes and urban/industrial landscapes filled with dazzling light and shadow. As usual, he introduces seemingly incidental details early, then brings them back later in hilarious and unexpected contexts--the humor is simple, but giddy and irrepressible. Hartley has an amazing ability to build toward small and rapturous moments of the simultaneously mundane and outrageous. As usual, he creates a tone that is jaded and world-weary but at the same time, vulnerable, open, and honest. He moves within minutes from uproarious humor into language that is metaphysical and poetic-the kind of writing that is so dead-on and perfect that it's difficult to hold back tears despite the lack of obvious emotion. Another awesome and highly entertaining film.<br /><br />The Book of Life is shot (a digital camera?) with a blurry effect: a sense of the celestial hand-in-hand with impending doom and a hyper-awareness of the present as fragile and fleeting in it's last moments. All of Hartley's films have a way of prioritizing the present, but this unique effect compounds it as the images wash across the screen in a way that is at first jarring, but becomes increasingly beautiful as you settle into it. The final shot is spectacular. All this may sound precious, but the film is a comedy and it makes fun of itself even as it makes fun of the concept of Armageddon, Judgment Day, and "urbanity." Although it is actually quite profound, moving, and life-affirming, it is for the most part lighthearted and playful. The acting is flawless in terms of the kind of the subdued tone that Hartley has developed in his films (a tone that some people don't get and that prompts them to judge such acting as hollow--the same people who have a negative response to Peter Greenaway). As always, there are bound to be people who respond to this film with cynicism and scorn--people put off by Hartley's abrupt shifts and what they see to be pretentious or mannerist techniques--but anyone who is a Hartley fan will love this film (if they can get a chance to see it, that is). It's hard to say what it would be like on video.

The promise of Martin Donovan playing Jesus was, quite honestly, enough to get me to see the film. Definitely worthwhile; clever and funny without overdoing it. The low-quality filming was probably an appropriate effect but ended up being a little too jarring, and the ending sounded more like a PBS program than Hartley. Still, too many memorable lines and great moments for me to judge it harshly.

Hal Hartley has been likened to a modern day William Shakespeare, by virtue of the fact that he gets his actors to deliver their lines in an iambic pentameter. He certainly knows how to assemble a cast and once again Martin Donovan is sensational, whilst Thomas Jay Ryan plays his role with an intensity that is unforgettable. Although the film is only 1 hour, the time frame works wonderfully and keeps the audience on a fast tracked race right till the very end. Without a doubt Hal Hartley is one of the best directors to come out of America in the last 20 years, with a vision that is unique, funny and heart warming.

While the camerawork was certainly "funky" - perhaps one dutch-roll short of "stoned" - the premise of the film was fantastic. It really took a scathingly satirical (in the true traditional of Hal Hartley) look at God, Jesus and Devil. The interaction of Jesus and Satan provides some hilarious scenes... Even the monologues of Jesus were great - this was by far the best Jesus I've even seen. So laidback, Zen-like, Son-of-God-ish but still such a nice guy. On one level this is a very general look on the paradoxes of Christianity, but yet there is still a personal level, where you can relate to Jesus Christ without having a God-Complex (thanx to Martin Donovan and Hal Hartley).

The Book of Life was rather like a short snack, whetting the appetite for Hartley's next full length movie.<br /><br />This movie doesn't need to be seen on the big screen, watch it with a few friends who are Hal Hartley or Wayne Wang fans, or better still, try to convert some newbies.

film about divine retribution. Camera work stinks (shot on digital video) and looks like early MTV videos. Turn the other cheek by looking past the visual and concentrate on the story. Laughs galore for those with a well-developed sense of irony.

Hilarious

Though not Hal Hartley's best work (my personal favorite is "Surviving Desire"), there is still much to like about this movie, especially for fans of Hartley's dialogues. Even to audiences new to Hartley, I would definitely recommend this movie over the sophomoric "Dogma." This movie is more intelligent, truer to its source material (the Bible), and more fun than any of the other pre-millennium apocalypse movies.<br /><br /> This movie is actually part of the French "2000 As Seen By." (2000 Par Vu) series; as such, it is perhaps even a lower-budget film than Hartley's other works. While the need for simple scenes shot with digital camera is understandable in this context, the main problem with this movie is the unfortunate overuse of the blurry/jittery effect. I'd be happy to never see this effect used in a movie again; especially at the beginning, it almost makes the movie unwatchable. But overlook this flaw, and you'll be treated to a fine film. Especially notable is Magdalena (played by P.J. Harvey) relating how Jesus saved her from being stoned to death; a short scene I found surprisingly moving. (Despite the fact that it was NOT Mary Magdalene that this happened to; the woman in the Bible was unnamed.)<br /><br />

One of my favorite Hartley movies. (As if there could be a "bad" one.) Although, this may be a bit more on the religious side of things than we would normally expect. Nonetheless, it still maintains that Hartley slant to which we've all become accustomed.<br /><br />First picture Jesus and Satan discussing their ideas, opinions, hopes and regrets about the impending end of civilization. Now imagine the entire conversation taking place over a few drinks in your neighborhood bar. And as an added conversational (not to mention visual) distraction, let's toss in PJ Harvey as the sultry companion (aka Magdelena) to Mr. Chist. Then, just for grins, in the background, an ever present Salvation Army Band (played by Yo La Tengo) to serve as an added diversion. The road to moral justification has never been such a pleasure.<br /><br />Quite possibly more questions than answers, but therein lies the fun. And Mr. Donovan is subdued brilliance, as always.

This 1-hour 30-minute inside joke is best understood by Catholics, the number one religion of self-medicating comedians the world over. That isn't to say it can't stand on its own which it does, that the film isn't without its flaws, which its got. Technical issues, mostly: Belief that in 1998 digital was the answer when in fact it was in its infancy - a Beta of a Beta if you will, and re-mastering will never improve it. For the love of God, Hal...please get yourself a Red One. Or three.<br /><br />If you like Hartley films of course, you'll like it. I liked it, because I liked Grim/Fool, and there were added benefits of retrospect: I couldn't help noticing a disturbing self-prophecy, an airliner soaring overhead, used as a harbinger of Armageddon in this 1998 movie. It was as if Cheney had gotten the whole idea from Hal. It's true - Hartley moves his players round into the camera like it's the House of Commons, just one piece of the gimmickry that needs a rest. After all, we're already paying attention to the actors, and the writing is alive. Not great writing, but...fervent. Can I use the word fervent? Purposeful, intelligent, not condescending.<br /><br />Absolutely love PJ Harvey in this, course I'd love her anywhere. Oddly, if Helen Mirren needs a younger self, she should look Harvey up and bring a bottle of blond.

This is my favorite Hal Hartley movie. All his movies are small gems. I love independent movies and I hope Hal Hartley never goes mainstream or sells out. What if the Lord Jesus did come back and loved his people so much that he could not open the final book and destroy the unbelievers? It was to see P. J. Harvey in a movie since I am a fan of her music. Don't watch this if you are a fan of cookie cutter Hollywood movies, you will be disappointed.

nice

Art imitates life imitates art. Atticus Finch is reincarnated into the D.A. in this tragic and suspenseful gripping documentary that plays more like a who-done-it and how did it happen. The authenticity and sometimes reluctant honesty of the individuals make this a compelling story in many layers. Although racism is one of the themes there are other elements such as work ethic, integrity, and coping with grief that have drawn me back to view and review this film again and again. The music is driving but not obtrusive; the pacing and visuals are such that there is no mistaking the fact that these are real people going through an authentic experience.

Hartley on low-key form: Martin Donovan, born to play Jesus, comes as Messiah to millenial Manhatten; P.J. Harvey is excellent as sidekick Magdelena. A slight film, but drily amusing, short and sweet.

One of the many speculations about Y2K was that the world was going to end at the stroke of midnight on December 31, 1999. In `The Book Of Life,' writer/director Hal Hartley takes a look at the possible ramifications of a new millennium Armageddon, beginning with the return of Jesus to Earth on New Year's Eve, ‘99. The story examines the task of the Son of God, who must open the remaining three of the seven seals contained in the Book of Life (now contained in a Mac laptop computer), in which there is also the names of the one-hundred and forty-four thousand good souls who will be spared on the last day. Jesus (Martin Donovan), along with Magdalena (P.J Harvey), arrives in New York City to make the preparations necessary for carrying out his Father's will, but he begins to have second thoughts; must he judge the living and the dead? Do they deserve what must befall them? It is a cup He would prefer not to embrace at this particular moment, which gives encouragement to Satan (Thomas Jay Ryan) who fears that the fruit of all his hard labor is about to be washed away at midnight, for he can only continue his work so long as there are people around who cling to their pitiful hopes and dreams. An artistically rendered, high concept film, Hartley presents the story in an intelligent, thought provoking manner, taking great care in dealing with the sensitive subject matter so as to make it inoffensive even to the most ardent fundamentalist. The dialogue between Jesus and Satan is intriguing and stimulating, as is the effect of their presence upon those they encounter during their corporeal stay in the city. It's an engrossing meditation on the spiritual side of Man's fragile existence and a contemplation of that which has been prophesied in the Revelations of St. John in the Apocalypse, the last Book of the New Testament. And there is logic in Hartley's approach to the Second Coming; he maintains the aesthetic of the contemporary setting while employing altered film speeds which visually give the film an ethereal quality. Christ inconspicuously wears a suit and tie, effectively blending in with the populace, while Satan's attire is a bit more casual, his appearance somewhat scruffy; he sports a bruise above his left eye. Donovan is well cast as Jesus, lending a benevolent mien and a sense of restrained urgency to his character that is very effective. It is, of course, a unique portrayal of The Saviour, and possibly the best since Max von Sydow's in `The Greatest Story Ever Told.' He successfully conveys a feeling of inner peace and tranquility, of serenity, that is the essence at the very core of the character. And Ryan is thoroughly engaging in his role of the Prince of Darkness; he has a distinct manner of speech and a resonant quality to his voice that make him absolutely mesmerizing to watch. His eyes are darkly penetrating, a trait he uses effectively with furtive glances and captivating stares. He's the guy who could sell you anything in exchange for your soul before you ever knew what hit you. It's a memorable performance that contrasts so well with Donovan's portrayal of Jesus. The supporting cast includes Martin Pfeffercorn (Martyr), Miho Nikaido (Edie), Dave Simonds (Dave), D.J. Mendel (Lawyer), James Urbaniak (True Believer), Katreen Hardt (Lawyer's Assistant) and Anna Kohler (Hotel Clerk). In his own, inimitable style, with `The Book Of Life,' Hartley has crafted a perspective of the last days that is interesting, entertaining and truly unique. He has a way of capturing life as it is just off center, a method which works especially well with a film like this. Comparatively short for a feature film (running time of 63 minutes), it nevertheless is one of Hartley's best, and more than worth the price of admission. It's a film that will stay with you and perhaps make you think about some things you may have tucked away in a corner of your mind for later. And that is part of the attraction of this film; it makes you realize that `later' most likely is now. I rate this one 9/10.

Hal Hartley entry into a European film series is one of his two or three best efforts to date, and, lucklily, one of the few available on DVD. At only 63 minutes running time, my only quibble would be with Hartley I always leave wanting more, but never so much as this time. Martin Donovan is astonishing as Jesus. PJ Harvey is beautiful and interesting as Magdelena, but the high point for me was Thomas Jay Ryan (Henry Fool) as Satan. Hartley gives him excellent dialogue and a chance to use his resounding voice to full effect. Look for three scenes in which a microphone awaits him, as if a poetry slam is about to be won by the devil. I have read other comments on this film and had to add mine because there is not enough praise going around. If you like Henry Fool, Martin Donovan in anything (Opposite of Sex), and/or very clever comedies based on biblical ideas, get this as quickly as possible.

I thoroughly enjoyed this movie...and I watch it from time to time still. I've used it in my music classes at the school where I teach. The kids seem to enjoy it, although, they wish it were in color.<br /><br />The best thing about this movie is, for me, who grew up after Heifetz had died, is the chance to actually see the master violinist work his craft! I was surprised at how "up to date" the story line is. Although, references to "reform school" are outdated. A boy, whose father had died, and is being raised by his mom and stepfather....most of our kids today are being raised by stepparents, although the movie makes it seem like most stepparents are cruel. I get VERY angry when his mother doesn't take his side and defend his actions against the step-father.<br /><br />Also, the musical selections are difficult to believe. I find it unbelievable that a child, who looks to be about 8, can play the "Minute Waltz", or that a 13 year old girl could sing an aria from Rigoletto.<br /><br />Other than that, it's a really fun, feel good movie and I do recommend it. I wish it would come out on DVD.

As you can tell from the few comments posted here - mine may very well be the last you'll see, unless there is a big DVD-release or TCM plays it again ! - this is a kind-of "Our Gang" movie with a bunch of different kids. MGM certainly WAS the musical studio - if the musicians, dancers and singers weren't under contract, they were on tap. Heifetz was one of the most expensive.....that does it for a little charity work !!! The fee he received in that era was unheard of. Another musical film with Jose Iturbi (Mexican pianist) featured about 100 kids playing some simple tune on 100 pianos......so, those skeptics who think young children aren't musical are mistaken: I was one.<br /><br />As all write, "Frankie Smith" - good-ole American name - (Gene Reynolds) was the bad-but-good kid who is taken-in from the streets by the owners of a music-school. Can you believe that Walter Brennan ("Prof. Lawson") of all those western movies was the man running the school? Joel McCrea ("Peter McCarthy") and Andrea Leeds ("Ann Lawson") were the bigger stars in "They Shall Have Music", with a host of well-known extras (many of whom went-on to become stars in their own rights). As others have commented, almost all of the kids in the orchestra (actually, The Meremblum Symphony from Los Angeles) made big successes of their lives, either as musicians (for the studios) and other businesses.<br /><br />Sad to say, there aren't that many young-people's orchestras today - a sad mistake. Parents with children in school are usually so busy trying to keep their heads above water, and many don't even know what is happening to the kids in school. Musical instruction can get to be pricey, and almost EVERYONE would rather had a football-team.....<br /><br />This is the cheapest concert by Jascha Heifetz you'll ever hear is contained in this movie.....in those days, a quarter. His playing is brilliant, even if he looks like he'd rather be someplace else.....emotionless. By contract, any concert by Yo-Yo Ma is so joyful, it makes you want to run right out and buy a cello.....this guy is having a good time....like the kids in the "street" concert, when they hoodwink Heifetz to play at their school.<br /><br />All of the orchestral numbers were played by "the kids," and they make it sound easy. I love this type of movie - their plots are so simple, it doesn't take you two days to figure-out if you enjoyed - or understood - the movie, at all. We need some new movies like this - can't do anything but inspire younger kids to play other instruments than guitars.......Bravo!

I really enjoyed this movie, and I'm not a classical music fan. The story of the tough street kid discovering classical music and changing his ways was great to watch, without being sentimental or too unbelievable, although some details had me scratching my head (Frankie and his dog can live in the basement of the school without any of the students or teachers discovering him? Where did he eat? Bathe? Did he ever get a change of clothes? What did he feed his dog? The owner of the school didn't think it was important to notify the police about finding a missing boy, but let him live in the basement indefinitely? :-) ). But we can let such unrealistic details slide and just enjoy the touching, fun, and slightly suspenseful (for me, anyway) story and wonderfully talented children.<br /><br />I loved the scene with the mothers standing shoulder to shoulder on the steps barring the policemen from entering the school: I doubt they would get away with that nowadays. And I liked the nice touch about the boy Frankie stole from turning the tables on him (although that never really went anywhere), and Frankie's friends helping him out in the end.<br /><br />All in all, a great movie for everyone!

Although many audio recordings of great musicians like Jascha Heifetz survive, the cinematic or televised record is limited indeed. This is why musical offerings like "They Shall Have Music" are such rare gems. While, with modern eyes and ears, one can quibble about the plot, the perceptive viewer should put this film's unique delights in their proper perspective. The plot was designed to appeal to both young and old audiences of the era, but it remains enjoyable to this day. A important aspect of the experience of watching classic films is to see them through the eyes of the moviegoer of that era.<br /><br />I must take issue with reviewer who complains about a film that is in black and white, or who feel obliged to report that their students express such reservations. These are juvenile complaints which reflect a limited historical perspective. For the teacher, this should offer up an educational opportunity to explain the unique qualities of black and white photography and its place in cinematic history. Color can, in fact, get in the way of a good storyline, or the music. For example, the black and white photography of John Ford's "Stagecoach," is, like the still photographs of Ansel Adams, an artistic masterpiece.<br /><br />As for Heifetz being wooden, I could not disagree more. If you want blatant emotional posturing, go to a rock concert. The role of a classical musician like Heifetz is to move the audience, not him or herself. Heifetz's emotion is conveyed through his playing, not through his body language. He had a rare ability to extract every emotional nuance out of the music and transfer it to his listeners. It is the listener who should be moved, not the artist.<br /><br />Incidentally, one reviewer asked about seeing Heifetz on YouTube playing the 1st movement of the Tchaikovsky Violin Concerto, with Frank McHugh in the audience. This is from the 1947 film "Carnegie Hall," not "They Shall Have Music" "Carnegie Hall" is an even greater treasure of many great classical artists in their prime. We are blessed that there were film producers who, at least in these limited instances, chose to showcase these artists. In was still an era not totally overwhelmed by the lowest common denominator tripe we get today.

A bright youngster interested in "serious" music (admittedly a vanishing breed--who'll play the fiddle when no one can play the violin??"--could find this an interesting fiction about street kids and great musical stars. Heifitz was indeed the greatest violinist of his generation and the film gives him a rare on-screen chance to display his technique. The kids, especially Gene Reynolds, are fine and, all in all, the pic is a good example of first-rate studio family fare of the late 30's. It doesn't hit the top of the great '39 list, but it's a nice way for an intelligent family to spend a rainy afternoon with AMC or the Video Store--- good luck at Blockbuster!!!!

I think Samuel Goldwyn was trying to accomplish two things in this film. First the film is a homage to Jascha Heifetz, considered to be the best violin virtuoso of the past century. Secondly having brought to the screen the Dead End kids with his film of the same title and seeing them sign with Warner Brothers, he was trying to create a second gang of appealing urchins. <br /><br />Though the film was good there certainly was no demand that the kids from this film be reteamed for another feature. <br /><br />Leader of the gang is Gene Reynolds who at one time played the violin, but now leads a street gang of disreputable urchins. His stepfather, Arthur Hohl, breaks the violin his late father gave young Reynolds and threatens to send him to reform school over the feeble protests of his mother Marjorie Main.<br /><br />Young Reynolds happens to stumble onto a music school run by the old music maestro himself, Walter Brennan and his daughter Andrea Leeds. They take him in, but they have their financial problems with a lot of creditors led by Porter Hall.<br /><br />This film is mostly to be seen today because it's a chance for classical music lovers to see and hear Jascha Heifetz who as you gather is the solution one way or another to everybody's problems. Joel McCrea is in this film also, but has a rather colorless part as Andrea Leeds boyfriend. <br /><br />Besides Heifetz, one thing the film does do is touch on, albeit gingerly on the topic of child abuse and battered spouses. Arthur Hohl is one mean man and Marjorie Main is very clearly a much battered wife.<br /><br />The kids in the cast do well, Reynolds, Tommy Kelly, Terry Kilburn and a young girl under the name of Jacqueline Nash who grew up and performed as Gale Sherwood, nightclub partner to Nelson Eddy. She had a nice soprano even as a child.<br /><br />But it's Heifetz you see the show for.

For many years, Samuel Goldwin tried to bring his friend Jascha Heifetz to the screen. One evening when Goldwyn and his wife Frances were having dinner with Heifetz and his wife, silent screen star Florence Vidor, Goldwyn proposed that Heifetz star in a movie. After some persuasion, Heifetz agreed, on the condition that his acting be kept to a minimum. And the movie, originally titled "Music School" was born.<br /><br />The story itself is rather stock: A streetwise boy (Gene Reynolds, who is best known as the producer of "M*A*S*H"), runs away from home and ends up at a financially troubled music school run by Professor Lawson (Walter Brennan). While attempting to raise funds for the school, the boy and some other kids happen across Heifetz at Carnegie Hall. After much ado, Heifetz ends up appearing at the school concert and sponsoring the school. <br /><br />The story, while predictable,is surprisingly well written, although the film contains several minor gaffes where different scenes were patched together, the most obvious being the young cellist who is sent out of the orchestra room on an errand and is seen sitting in the orchestra a few seconds later.<br /><br />What is not surprising is how good the acting is. As was customary for studios then, the studio surrounded the inexperienced star with veteran talent: Brennan, Joel McCrea, Andrea Leeds, Porter Hall, Marjorie Main (later of Ma and Pa Kettle fame), Arthur Hohl, Paul Harvey, and a Who's Who of character actors. Actress Diana Lynn and singer/actress Kaye Connor made their (uncredited) debuts in this film, as did longtime Nelson Eddy singing partner Gale Sherwood (as Jacqueline Nash). Child veteran actors Reynolds, Walter Tetley and Terry Kilburn also appear.<br /><br />Goldwyn hired the Peter Meremblum Symphony, a highly regarded youth orchestra from the Los Angeles Area, to appear in the film. Most of the kids in the orchestra weren't actors, but they were excellent musicians, as good as professionals (which many of them later became). Many of the kids in the orchestra went on to noteworthy careers: Kaye Connor and Diana Lynn both starred in the theater and movies, Richard Berres was a producer and director, Mitchell Lurie founded a well-known music supply company, Elliott Rapaport went on to be a prominent cardiologist, Lewis Elias was a band leader, Thomas Facey a conductor with different symphonies, Channing Robbins a prominent instructor at the Julliard School, his sister Joyce Robbins an instructor witn SUNY Stonybrook, and many of the kids in the orchestra pursued musical careers with major symphony orchestras.<br /><br />While Heifetz's acting was kept to a minimum, his salary wasn't. He commanded $70,000 for seven weeks. When some scenes had to be re-shot at a later date, he got an additional $50,000 for another four weeks. What thankfully wasn't kept to a minimum was his musical output. Composer Alfred Neumann (who was once a Meremblum Orchestra conductor) handled the scoring. Heifetz performs the "Introductionne and Rondo Capriccioso" by Camille Saint-Saens, his own arrangement of Manuel Ponce's "Estrellita" (with an off-screen Teddy Saidenberg accompanying), Dinicu's devilishly difficult "Hora Staccato" (from a Vitaphone recording, with Emanuel Bay at the piano), an excerpt from Tchaikovsky's "Melody", an excerpt arranged for violin solo from Tchaikovsky's well-known "Adante Cantabile" from his opus 11 string quartet (played during the opening credits at the beginning of the movie), and the final movement from Felix Mendelssohn-Barthody's E Minor Violin Concerto. During all of these performances, there are many closeups of Heifetz's performing, including some very close shots of his fingering and bowing, something that would be of value to violinists desiring to study his technique.<br /><br />The Meremblum orchestra also shines here, performing the arias "Caro Nome" by Verdi and "Casta Diva" by Bellini, (both with Sherwood singing ), an arrangement of the overture from Rossini's "Barber of Seville", a short excerpt from Mozart's "Eine Kleine Nachtmusik", and the previously-mentioned Mendelssohn concerto (with Heifetz). Diana Lynn can be heard in the background of one scene, performing part of Chopin's Nocturne in B-flat Minor, and a five year old Mary Ruth performs Chopin's popular "Minute" Waltz.<br /><br />All in all, this is an excellent movie. AMC showed this regularly up until early 1992. I haven't seen it on television in recent years, but copies of it are not difficult to obtain. If you have the chance, I highly recommend that you view the movie.

Anyone that is looking for an episode of "Law and Order" or "CSI" would have to look elsewhere as the most basic elements of police or forensics work were totally ignored in this case.<br /><br />A murder took place, and all the police did was to grab a 15-year-old boy off the street and take him to the only witness - a 65-year-old man - and say is this the guy who did it? Sure, the old man thought that the kid in the back of the police car had to be guilty. never mind that he looked nothing like the real killer and was dressed completely differently. He must have shrunk, reversed his age by 5-10 years and changed clothes.<br /><br />The police made absolutely no effort - and they admitted it! The did no forensics on any of the evidence, they questioned no other witnesses, and they beat a confession out of a 15-year-old.<br /><br />The saddest thing about this look at the criminal justice system is that it occurred right down the road in Jacksonville, Florida. Let everyone now start talking about "Southern justice."

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The story itself is routine: A boy runs away from home and ends up in a struggling music school for kids. He convinces a famous violinist to sponsor the school. The film is a splicing of shootings over 11 weeks, and leaves many amusing holes which the observant viewer may find for him/herself.<br /><br />However long the whiskers of the plot might have been, the movie is justified by its music and acting. There is plenty of music, featuring classical works played by Heifetz and by The Meremblum Orchestra, one of the leading youth symphonies of that day, and said music is excellent. By itself, it would make the picture worth viewing. The conducting and scoring duties were put in the best of hands: those of Alfred Neumann.<br /><br />The acting is a study in contrasts. The kids in the orchestra, most of whom had little or no acting experience, must have driven director Archie Mayo crazy, looking into the camera, overacting the parts that they had, and overstudiously following directions given to them. But the spontaneity that results from their lack of training adds an interesting charm to the picture. The veteran actors were marvelous with the material they had to work with. Walter Brennan was perfectly cast in his role, one that he emulated in real life. Joel McCrea and Andrea Leeds were ideal fits for their parts. And the supporting acting was a veritable Who's Who of character actors: Marjorie Main, Arthur Hohl, Paul Harvey, , Charles Coleman, Perry Ivins, and Porter Hall in his typical role of the heavy---all ideally cast. And the bit players: Jessie Arnold, John Hamilton, Marjorie Wood, Jimmy Flavin, Dulcie Day, the gravelly voiced Lee Phelps in his usual role as a policeman and many many more. If you're a fan of character actors, this movie will bring back a lot of memories.<br /><br />Overall, the picture is very enjoyable and is recommended, even if you aren't a fan of classical music.<br /><br />tvcat

David Lynch shot his first film, 'Erasurehead', over several years, adding new scenes each time he managed to raise a little bit more cash. Kevin Smith made 'Clerks' at work, while working as a clerk, and Robert Rodriguez has boasted that 'From Dusk Till Dawn' cost precisely $30,000. But $30,000 is still a hell of a lot of money to raise if you work as a cleaner in a cemetery. And what if an aspiring film maker not only had such a job but also had all the ambition of such luminaries, and all the dorkishness of Smith, but absolutely none of the talent. Such a figure is Mark Borchardt, the subject of this hilarious documentary which chronicles his attempt to make a pair of movies over many many years. Borchardt combines his lunatic dreams with flights of depression and a fatal inability to call it a day; one senses he almost prefers the endless labours of searching for an impossible perfection to an accommodation with the reality that he's simply (on the evidence presented in 'American Movie') not very good. And like a modern day Ed Wood, he surrounds himself with an epic crowd of fellow losers, his genuine affection for whom is his greatest redeeming feature. The collection includes his warring parents, his best friends (one a criminal, the other a reformed drug addict), his own hapless children and best of all his aged Uncle Bill. Bill may live in a trailer park, and just about have given up on life, but he is the owner of a small fortune ($280,000 to be precise) and the touching but potentially exploitative relationship between the two men lies at the heart of the film. Borchardt manages to enlist a few actors to perform (alongside himself, of course) but in the main he is wholly dependent on friends and family to complete his work (even Bill has a role on camera). On British TV, the BBC brilliantly scheduled a screening of 'American Movie' back-to-back with 'Lost in La Mancha', the story of Terry Gilliam's ill fated attempt to film 'Don Quixote'. In that film, one was impressed by the huge amount of professionalism on display (inadequate as it was to the task in hand), and just how damn difficult it is even for experts with millions to spend to make a film; whereas Borschadt is not only penniless, but also such a clown that he can't even pronounce the name of his own work ('Coven') properly. Ultimately, Borschadt is human enough for you to want him to succeed, but awful enough for the viewer to still be able to laugh at his failures. If this film was fiction, you'd dismiss it as unbelievable; but as it is, it's one of the funniest documentaries you're likely to see.

Chris Smith is a superior filmmaker with the seldom-seen talent for spotting a good story, then getting the hell out of its way. Smith's "American Movie" is the true-to-life record of filmmaker wannabe Mark Borchardt, a loser intent on milking his elderly uncle for cash to complete his horror short. But never, under any circumstances, to pursue gainful employment or support the children he's conceived.<br /><br />Such is producer Smith's skill that Mark appears more sympathetic than otherwise. Even as he entices Uncle Bill with sugar-spun dreams and executive producer credits, it is his desperation to be somebody, to have his name coupled with the likes of Scorsese and Spielberg that touches us.<br /><br />"American Movie" also belongs in that rare, often attempted but seldom achieved sub genre that successfully blends hilarity with horror. The humor comes from Borchardt's Ed Wood-style belief in his own genius. From his appalling attempts at acting, from his substituting his less than film-savvy mother for a missing cameraman and from his employing sweet but brain-damaged friend Mike whenever he's short an actor or crew member.<br /><br />The horror comes from seeing what Borchardt cannot: It is this very American attitude--I Want, Therefore I Am Entitled--that keeps him from seeing just how much he has to learn about his chosen craft. He is so confident he can't fail that failure is guaranteed.

Let's face it, lot's of bad movies are made all the time. For those people who work in film, you have probably poured a lot of time and effort into many of these plot less wonders. Sometimes, and this is my opinion, it is the act of merely making the movie that is important to us. To tell a story, (no matter how simple and unrealistic). Also, the collaborative process is one key characteristic that is unique to film and theater. To put on a production of any caliber, requires the talents of a varying amount of people, depending on its scale, to bring its story to life. The most intriguing part of American Movie, however, is not the movie being filmed. It is the movie maker himself, as a character of his own life, which demands our attention. None of them serve as models of the filmmakers we know and have worked with. But, I will argue, they are archetypes of small parts of us which try to be a part of this cult activity of independent film-making. (Alright a very small part of us) These are the people who live under the rocks of their own lives and just so happen to be snared by the romance of cinema. This leads me to my next argument. American Movie captures the raw spirit of independent film-making. Bad stories told on (nowadays) digital film with sloppy effects and horrible performances- because this IS the best they can do with a budget of a couple thousand dollars rather than a studio budget of several million dollars a day. That is the difference between low low LOW end productions and studio productions. The independent filmmaker just wants to create a linear or even a nonlinear story to shoot as well as he can with the money he's investing in himself and the resources around him in order to see a finished product on his rundown TV. Rugged Individualism materializes in every art form. I find this film to be a brilliant document of truth for many filmmakers. And no, I'm not full of myself. Man, these people are hilarious. Their problems seem hilarious, their characteristics are hilarious. Best line of the movie: "It's alright!. . . It's okay!. . . There's something to live for!. . . Jesus told me so!!!" Said a million times by a funny old man. Hat's off to Tom Beach. Chicago Rules.

Chris Smith's American Movie is an insightful examination of the American dream. The movie focuses around Mark Borchardt, an independent film maker from Wisconsin. Mark has dreamed of becoming a great writer and director since he was a teenager and had an out of focus hi8 camera. The movie follows Mark through his attempt to make his dream feature film, Northwestern. There are a number of hilarious scenes in the film as Mark goes through pre-production of Northwestern and later his short film Coven (pronounced co-ven, the correct pronunciation, Mark says "Sounds too much like oven,") which he plans to use to raise money to complete Northwestern. This film's insight and humor is on par with Roger and Me, Michael Moore's great film. I first viewed it at a chaotic Sundance Film Festival screening that brought out the spirit of the movie- a giant air duct fell from the ceiling at the beginning of the movie, hit seven people and caused a twenty-five minute delay; half way through the film the sound started fluttering and the projector had to be stopped to fix it, and in the last twenty minutes the projector stopped and the film burned up. Despite the delays, the audience stayed through the movie and gave it a standing ovation. American Movie also won the Grand Jury Prize for Documentary at the end of the festival. I highly recommend this fine film, worth sitting through any hellish screening.

American Movie is a wonderful documentary. It follows the trials and tribulations of a very determined independent filmmaker as he struggles to finish his first film.<br /><br />The raw footage and insightful content of this film is an excellent example of how documentaries should be produced. I also feel that the film can very inspirational to those of us that want to be filmmakers ourselves.

This documentary is such a wonderful example of what an entertaining and amazing experience a documentary can be, if done so well as this. The subject, Mark, is smart, funny and very driven, and this story of his personal fight to live his dreams will be inspiring to anyone who knows what it is like to harbor an "impossible" dream. See this mov

The subject matter of this film is potentially depressing: a man about thirty, with no job, little education, three kids from a failed relationship, living in his parents' house, but with a dream of directing feature films. But about a half-hour into the movie you realize that Mark Borchardt has a bottomless supply of drive and ambition--it's just that it's all channeled into his need to direct movies, and nothing else will make him happy. The movie jumps all over the emotional spectrum, but in the end you come away feeling happy, because you've just gotten to know some wonderful people. Go to this--you'll end up wishing it was longer.

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Anytime I'm not giving 150% to my dreams or my goals I think of Mark Borchardt, the real-life subject of "American Movie". Mark's dogged persistence at having his first feature film produced and shot is so captivating that it will have you laughing, shaking your head with sadness and rooting for him.<br /><br />I haven't seen a documentary this honest since the movie on R. Crumb. The supporting "cast" (Mark's real-life family and friends) are all great. Give this movie a chance and you'll see a great film and a wonderful portrait of the stuff that the American dream is made of.

My companions were astounded to find that this movie was a documentary. It was so funny, it seemed scripted, yet it gives a stirring picture of real life in the indie film life. We felt moved to purchase Coven and wanted to meet Mark and Mike. As college students, this film gave us a much needed glimpse of real life.

Very good film. Very good documentary.<br /><br />Very good to see those vermin detectives humiliated and found out as the bigoted, narcissistic, heartless swines their one eyed parents, community and environment raised them as.<br /><br />I tip my lid to Pat McGuinness. Can we get this decent human being on some kind of 911 commission or investigation? We need his integrity, endurance, intelligence, clarity and spirit fighting the rigged game that is world politics and big business.<br /><br />All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. Pat McGuinness should be the first drops of that real rain. The people who control this earth are animals. They need to be drowned.<br /><br />I'm just in shock. Walking the night is scary business. The inhuman howling and cackling is of detectives, in Murder On A Sunday Morning. In Pat McGuinness' blazing spotlight, they look horribly caught, horribly guilty, and ready for a just and horrible drowning.<br /><br />It is exceptionally satisfying, in a world in which the punters play a rigged game, to see justice done and to see every narcissistic felon drown like the pathetic human rats they are.<br /><br />How does it feel you railroading, abominable, snaky fingers of the law? How does it feel to have your rigged prosecution, your rigged confession, your rigged detective work found out for what it really was? How does it feel? <br /><br />I hope it twists like a knife you miserable, one eyed nothings.

I'm proud to say I'm a student at UW-Milwaukee, where parts of the film were shot. Yep, I recognize Mitchell Hall, where I took a film class, possibly the same course as fellow student Smith.<br /><br />That's where I learned about "American Movie." Our professor told us about it shortly before its release. To be sure, I was intrigued, but for some reason, I put off seeing it for several months(it must've done pretty well if it was still playing, at least in Milwaukee).<br /><br />When I finally got around to seeing it, I thought it was an entertaining documentary. It's not a masterpiece-it goes on a bit too long-but I find Mark's passion and commitment inspiring. I hope this film signals the beginnings of bigger and better things him. Maybe his forthcoming "Northwestern" will propel him to fortune. Who knows?<br /><br />Rating: *** (out of ****)<br /><br />108 min/Released by Sony Pictures Classics

I rented this movie for two reasons. The first was all of the good things that I read about it. I definately was impressed, and couldn't agree more with all of the reviews I read. The second reason is because I know these guys. I don't know Mark as well as I do Mike. He hasn't changed much from the years we knew each other. I know him as "the reaper" from a local Milwaukee radio station (WMSE). The way he is in this film is genuinely Mike 100%. He once gave me a table that he made. It was a little one, about 15" high, that said Metallica on it. The odd thing about it was it only had two legs. Sometimes it's the thought that counts, and Mike always has thought about others first.

This may actually the finest film of 1999. No I'm not kidding. This documentary directed by Chris Smith captures the very spirit of artistic compulsion. Smith does the smart thing any documentary filmaker should do: he keeps invisible and refuses to judge his subject. <br /><br />As the viewer watches Mark and his efforts, no matter how funkily aggressive they may prove, to finish his films. He refuses to compromise and suffers repeatedly as a result. But lest we forget, remember Speilberg, Scorsese and others started just as humbly.<br /><br />And what a great subject he chooses. Mark, his family and friends are all fascinating characters, far more than any character created in last year's fictitious cinematic products.This film oscillates on the dime between comedy, tragedy, touching sympathy and leads us ultimately to inspiring any viewer with an urge to create, despite talent issues, to get off their butts and make something.<br /><br />The film is about maverick artists and their passions. It is also about families, no matter how co-dependent and disfunctional they may be and how unique and beautiful that organism truly is. Mark proves in the film to be utterly devoted not only to his dreams, but also to his family as well- and they to him. <br /><br />Why this film was not nominated for documentary of the year is beyond me and criminal (that is assuming it was eligible last year). This film is to be sought out and treasured.

I enjoyed this one, because I can relate to it. <br /><br />At one time in my life I was trying to make films, and experienced many of the same problems Mark Borchardt did in trying to make HIS film. And I also went through a protracted period of self-absorbed arrested development, where I refused to grow. But then, miraculously, I got married, and had kids. I realized that being a struggling filmmaker was, in all likelihood, not going to feed my family. So I got a decent job and did what I felt I needed to do to make that happen. That is what an mature, responsible adult does. <br /><br />Mark hasn't faced up to that reality as yet, and so, in that sense, he is a retarded adolescent. For this reason, there is a hopelessness about him. Like Don Quixote, he seems so inept and self-deluded that he doesn't realize how bad off he really is. The viewer feels a sense of superiority and pity for him and his circle. Mark has kids and an ex-wife and bills to pay, but the film depicts him caring basically only about pursuing his "artistic vision". <br /><br />Despite this, Mark comes across in the film as a likeable individual, surrounded by a very interesting family and group of friends. Unfortunately, Mark lacks many of the things necessary to be successful both in life and in a career: maturity, responsibility, education, knowledge, life experience, prioritization, financial clout, etc.. Yet he trudges on, much like Ed Wood, apparently without any semblance of a clue. <br /><br />I guess we are supposed to feel encouraged by the spectacle of the "never say die" attitude of this noble individual, struggling against the odds. And man, what odds there are! Kiefer Sutherland, Colin Hanks, Tori Spelling and Angelina Jolie are all offspring of big-time film or TV people; no doubt, they will all want to direct some day, if they aren't already. How much room is there for an independent like Mark? It's like watching a guy hit himself in the head with a board, over and over again. Come to think of it, that is pretty close to what happens to one of Mark's actors, with the kitchen cabinet door, in one of the funniest scenes I have ever seen in any movie.<br /><br />Despite these misgivings and seeming criticisms, I truly enjoyed this movie, and would heartily recommend it to anyone. Uncle Bill is amazing. I have a friend who met both Mike and Mark and he told me that, in real life, these guys are just exactly the way they appeared in the movie.

What gives this movie its personality is the knowledge, in the end, that it is all true. While it is a compelling and humorous documentary that does border on mockumentary in some parts (are they staged or is it really happening humorously?), it does seem to get a bit long towards the end.<br /><br />This movie is funny in places it needs to be, and flows relatively well. Reminiscent of Christopher Guest's movies, if you liked those or Adaptation then I recommend you keep a look out for this one.<br /><br />B+

When we are young, we all pick out an ideal occupation for ourselves: artist, actor, writer, rocket scientist, etc.. While most of us grow out of our pipe dreams, the main character of American Movie, Mark, has yet to let go of his(and at a thirty-something age too): to become a wealthy acclaimed director. Despite the fact that Murphy's Law won't leave Mark alone and something always seems to go wrong, Mark is able to persevere during each deterring incident with an even greater drive to reach his goals. His desire to be a director so controls his character that he sees any person or thing in his life as something to exploit to reach the goal. While I noticed other IMDB commenters are lambasting Mark's selfishness, I think it's an almost justified sort-of selfishness because for Mark, not becoming a famous director is equivalent to death. He talks incessantly about leaving some kind of mark on the world, and he sees filmmaking as a way to do this.<br /><br />Unfortunately any viewer of this movie picks up early on the fact that Mark has a near-zero chance of ever achieving his dream. Is he aware of this? No, not in the slightest, and none of his family or friends want to let him in on the secret(in fact even some of them believe in him). Strangely enough though, the disappointing future the viewer feels is sure to occur for Mark doesn't impede the ability to find humor in the film. This is a very very documentary. Most of the laughs come from when Mark is filming scenes for "Coven". There's a scene where an actor has to have his head break a cupboard, and it's just not working. Another scene has Mark's very old uncle Bill saying a few lines to the camera; needless to say, after 20 takes of a lot of headscratching and line-stumbling Bill finally decides he's had enough. A lot of humor sadly comes from Mark himself. His screenwriting, which he seems to think is worthy of a Pulitzer, is laughingly bad: "It's alright, it's ok, there is something to live for; Jesus told me so."<br /><br />"American Movie" is, contrary to what people might think, a documentary that anyone can enjoy(even though my sister, who watched some scenes, seemed to think it was downright bizarre). The fact that Chris Smith can successfully bring to the screen a film that inspires both sadness from Mark's depressing lifestyle to hilarity with scenes with Bill(who unfortunately passed away before the film was released) says quite a lot about him. I wonder how the dreamer Mark regards this documentary. Does he realize that it casts him in a bad light? Or that it sets up to show him as a fool in many scenes of the film? Or does he see it as something that will be shown prior to his own A&E Biography segment? It's an intriguing subject of wonder, and I hope the latter comes true for him some day.<br /><br />I highly recommend this movie: 9/10.

funny

For me, the best & most memorable movies are often those which on first viewing I know nothing about. American Movie is a perfect example of just such a gem. Watching TV late one evening, I spotted the one & only good review among the dross - thankfully I settled in for a real treat. American Movie is a documentary following the unforgettable Mark Borchardt (pronounced "orchard", I believe), a highly articulate & charismatic Wisconson lad, as he struggles to write, direct and produce "MidWestern", a gritty, low-budget Horror movie on which he has been working for years. In Mark we discover a young man filled with contrast. His appearance is of the classic trailer-trash stereotype - skinny, bum-fluff mustache, '80s heavy metal styling, mullet hairdo, etc. To camera however, Mark reveals startling wit & insight as he philosophizes upon life, love, movies & the American way. As the movie unfolds, it sadly becomes clear that Mark's lack of discipline & heavy drinking are relentlessly sabotaging his creative efforts. American Movie is a charming watch, filled with hilarious moments & vivid characters. Chief among these is Mark's lovable buddy Mike Schank, a soft-spoken reformed stoner who, having conquered an addiction to scratch cards, is now dependent on soda pop. I absolutely loved American Movie. It generates real empathy between the viewer & principal characters, and provides hilarity without feeling exploitative. I would wholeheartedly recommend it to anyone.

Looking for proof that real life is more entertaining than fiction? You just found it. This superb documentary about an aspiring feature filmmaker (Mark Bortchart) who refuses to admit defeat is the funniest film I have ever seen -- probably because it's also one of the most tragic. Oddly enough, the more I watch the film the more inspired I become.

This documentary is the most hypnotizing film I have seen in a long while. I must have had it on for an entire day. The selected material included in the piece flow amazingly well and develop three characters that are impossible to ever forget. The different layers of these people peel back to make an oddly moving film about perseverance, loyalty and determination. These characters ended up suprisingly fascinating and the film is unforgettable.

Okay, so I'm a sucker for a good documentary, particularly where it tells a modern-day Don Quixote story. A caveat: I met Mark Borchardt in the winter of 1995/96 while he was still working on Coven. But I'll save that story for later. American Movie, which commenced production not long after, accurately portrays the person that I knew, although in greater depth than I expected or believed existed. This is simultaneously a very funny and very sad film, and is brilliantly executed. Mark comes across as his own worse enemy: his childlike ambition and optimism -- which I admire -- is undermined by his apparent artistic ineptitude as well as his bizarre fiscal expectations. But he's also a charismatic guy. His loyal Sancho Panza sidekick is equally likeable: loyal, if frazzled, to the core. Like Don Quixote, American Movie presents an often-ignored inefficient aspect of freedom -- that people will be drawn toward professions to which they are not particularly well-suited, irrespective of repeated failure. It is a great film.

You think the police are always right.<br /><br />You believe that "eye-witnesses" are always right.<br /><br />You believe the prosecutors will not take a case to court if lazy police have failed to perform 98% of a basic investigation.<br /><br />You believe a U.S. city might have a "few bad apples" in law enforcement, but that the "good cops" will quickly nip those who systematically engage in evil-for-evil's sake in the bud.<br /><br />You believe that the possibility of an ex-football lineman being instated as a detective solely because his dad is the county sheriff, and being allowed to beat "confessions" out of randomly-selected teenagers with absolutely no fear of negative consequences to himself could happen in the America of the 1930s, but not today.<br /><br />You believe a judge will NOT send a case to the jury if anyone with a brain in their head can see the defendant is a totally random passer-by nabbed by the police because it was hot, and they did not feel like working that day.<br /><br />You believe that all the innocent people imprisoned six months here or 20 years there are "exceptions to the rule," and an injustice like this could NEVER involve your family member, someone in the middle class, or someone like YOU.<br /><br />You think that you are aware of every terrible, indisputable, 100% proved outrage of the last 10 years in America--yet you haven't this film.

seen

This depiction of forlorn Japanese forces in the Philipines is a tour de force in the utter meaninglessness of war. It is an effective representation of Japanese pacifist views after WW II. In the movie, Japanese soldiers have been left to fend for themselves in the jungles of the Philipines. Faced with impending starvation they resort to cannibalism and gradually lose what little humanity they have left. To call this film depressing would be something of an understatement. The viewer is left with an utterly despairing sense of life's lost value in modern combat. The final scene is almost too nihilistic but the film is a worthy statement none-the-less. Highly recommended.

They are hunted and starving. They are completely demoralized and yet they press on through sheer inertia. This film tries to answer the question "How far will human beings go to survive?" Hopelessness emanates from every of this film and like so many japanese films of this time, it condemns the blind military loyalty that pressed the japanese people into war.

Fires on the plain directed by Kon Ichikawa and written by Shohei Ooka and Natto Wada is a World War two movie which is finally not showing the allies fighting the axis powers, but the Japanese fighting and struggling for their lives on the Philippines. The main characters name is Tamura , played by Eiji Funakoshi, and he is a soldier leaving his regiment because of him being sick. All he has on him is a hand grenade, his gun and some potatoes. Like this, he is trying to make his way to the hospital in order to get a doctor and a cure for his disease. But since the hospital turned him away and gets destroyed, he begins a long walk. Throughout the whole movie, Tamura remains a bit cowardish, but very civil, when the other soldiers become more like animals by using their basic instincts for survival Tamura is still remaining human and would not degrade. A scene which has influenced me a lot to think positively and different about this war movie is, when Tamura comes into a Phillipino village which is completely deserted. There, he fights a dog and finds a lot of corpses of Japanese soldiers stacked up in front of a church. This makes Tamura think and even more scared than he already is. That shows that the soldier is not a brave killing machine, but a servant to higher beings and human most importantly. After he turns away from the corpses, two Phillipinos (a couple or brother and sister : very close relationship) return to the village in order to get their stash of salt back. The main character of the movie wants to be friendly at first, although he walked up to them with his gun, but shoots the woman once she starts screaming. Her brother/boyfriend/husband then runs away in fear and after a moment Tamura follows him and shoots wildly at the fleeing Filipino. He does not hit him. After Tamura picks up the bag of salt , something very precious , he drops his gun into a river. This gesture is very important in order to understand Kon Ichikawa's/Shohei Ooka's profiling of Tamura and the war. Comparing this movie to other World War 2 movies, it is not typical at all. Of course all movies have suffering heroes, but their heroes are more heroic than Tamura. He expresses everything that is human: he is getting manipulated , he is weak , he gets scared , he has hope. This is typical for Japanese World War two movies and for Japanese society. Since World War two is not a discussed theme in Japanese society, Japanese are likely to put Japanese in the second World War in the role of the victim. This victimisation is also very visual in this movie. One of the examples is Tamura, another one the piled up bodies of Japanese soldiers in front of the church and another important one is, when the Japanese soldiers are trying to cross a street and the Americans are already waiting there for them and shooting all of the Japanese soldiers which have worse equipment and are fed worse and have no health equipment or anything alike. In my personal conclusion I have to say that it is worth seeing this film in order to finally see a movie from the other side than usual. It also has no nationalistic propaganda which could've been easily built in. Once you have watched the movie fully, you will be able to see the horrors of the second World War to its total extent.

The title is a reference to the destruction of the remnants of a harvest, like rice husks, by farmers who burn them creating fires on the plains. This is a bleak tale of the destruction of the Japanese soldier.<br /><br />The story is set in the closing days of the Philippines campaign as a soldier with TB who returns from a hospital because since he can walk, they have no room for him. His superior officers don't want him around since he's really too sick to work or fight. Abused by his officer he's sent back to the hospital with orders to either be admitted or kill himself. They still won't take him and he's soon left to wander across the war ravaged landscape trying to find help or a place to stay or even just food. Its a bleak journey with no hope in sight and only death and man's inhumanity to man at every turn.<br /><br />Billed as a harrowing journey into the dark heart of man and war this is also a very funny movie. This isn't to say its not horrifying, it is at times, but its also darkly comic. How could it not be? Here is a film where madness and insanity run rampant, people are constantly trying to hustle tobacco leaves for food, trying to get even a slightly better pair of shoes, trying to remain a Japanese soldier in the face of absurdity by marching constantly but never getting anywhere and you can't help but laugh. To be sure things go darker as it becomes clear that cannibalism maybe, literally and figuratively, the only way to survive, but at the same time there is something uncomfortably funny about the human comedy.<br /><br />Hailed as a great anti-war film its stark photographic style makes clear the insanity of war even as it dazzles our eye with its beauty. Here we see landscapes full of bodies that include the soldier and the civilian. set amid fields forests and trees that would otherwise be, and to some extent still are, quite beautiful. Its a jarring sensation.<br /><br />What intriguing is that I read that this is based on a novel about the redemptive power of Christianity. The director removed all over the religious references to hope and salvation and instead used it as to show that life stinks, war stinks worse and that there is, ultimately no hope.<br /><br />Intellectually I admire the film, emotionally I don't. Part of it is a strident downbeat score which, for me over accentuates what we are seeing on the screen. Its almost gilding the lily since the imagery is so strong it doesn't really need to have the music force you into feeling one way or another.<br /><br />Is it a great film, thats for you to decide. For certain its unlike any other war film, bloody, horrific and real in ways that big budgeted films claim to be but never are. This is not for those adverse to blood and gore since its here in spades.<br /><br />Definitely worth a look.

I got this movie out a week after the death of Ichikawa Kon - I suppose if there is one way to mark the passing of a great director, its to raise a glass of wine to him while watching one of his greatest movies. Ichikawa had one of the finest careers in Japanese film, but as he never had a distinctive style or theme he often seems to be overlooked compared to his near contemporaries such as Ozu and Kurosawa (he was a little younger than them, but not by much). He is one of those directors who defies auteur theories - its likely that his wife (who wrote the screenplay for this and many other of his movies) was as much responsible for the quality of the movies as he was. But at his best, he was as good as any Japanese film maker at the time. In particular, he had great technical skills, allowing him to tell complex stories in an accessible manner. But in terms of theme, this movie could hardly be simpler - war is hell. No really, its seriously hell.<br /><br />Fire on the Plain doesn't follow the normal war genre rules. There is no real beginning - we start as the wretched Tamura, who is a regular private (although it is implied he is more thoughtful and educated than most of the others - at one stage it is shown he understands English, but he clams up when the others ask him how he knows it) is ordered to hospital, as his unit is already in an appalling state. The soldiers are defeated and starving to death. They are no longer an army, just a rag bag group of refugees - hunted by the locals, and pretty much ignored by the Americans, who have bigger fish to fry. Hunger and despair is driving the soldiers to the edge and beyond of madness.<br /><br />In typical Ichikawa style, its not all just grim - its oddly funny in parts (a very black humour of course).<br /><br />The high points of this movie to me are the outstanding performances from the leads and the vivid photography. The characters, in all their humanity, but also their complete loss of humanity, are all too believable. This is that rare film - one which will refuse to erase itself from your head, even if you want to forget it.

This is probably the greatest war film and certainly one of the greatest films. There's no sentimentality, no patriotic agenda, not even a hopeful message of universal brotherhood in this bleak glimpse of what we can only call hell. It's this quiet rigor and lack of manipulation that give the film its astounding power. There aren't any attempts to make a hero out of Ichikawa's protagonist Tamura either. He's just a poor doomed sap trying to stay alive in a world of horror who hopes, but isn't sure, he can hang on to his humanity in the process. Ichikawa's fierce lack of cant and illusion make Fires on the Plain stand alone. Ichikawa died February 2008.

My first Ichikawa in many years, and the first of his war films that I've seen, this was gripping and brutal from the very get-go. In the very first scene, nominal hero Tamura is told that he can't continue on with his unit, to which he has returned from the hospital. He apparently has TB – but he is not sick enough for the hospital to take him given the quantity of war-wounded they have. But his old unit won't take him back either; his CO gives him a grenade, and tells him that if he feels truly hopeless to blow himself up…it's the honorable thing to do.<br /><br />The Phillipines, 1945, and the situation really does seem hopeless, for PFC Tamura and everyone else. Nobi is an odyssey through hell, or rather hells – denuded forests, dead rocky plains, and the dead and dying Japanese soldiers hoping just for an end, through peace or death. Ichikawa's film is photographed in stunning B&W scope which serves to highlight both the desolation felt by Tamura and those he meets on his journey towards his doom, and to show how truly small and naked they all are amidst the immensity of the mountains and the forests….this small affair of humans will end soon, the earth seems to be saying, but I will survive and barely notice it.<br /><br />Tamura travels back towards the hospital, but is (not surprisingly) rejected there, and spends the rest of the film trying to stay alive, stay human, and get out of danger. He doesn't manage to do very well on any account, slowly starving and eventually committing some fairly repellent acts. Eventually he hooks up with two other desperate men who have lost, or survived their units, and have resorted to cannibalism…and in his weakened state facing other armed men, finds that the only way to live is to break with everything that he believes in.<br /><br />Ichikawa's film is as brutal, uncompromising and intense as any war film I've seen. There are moments of humor and tenderness, but they are fleeting and don't stick in the memory such as the scene with the man on the mountaintop who practically begs Tamura to eat his flesh…the recurring black-comic bit with Tamura exchanging his ragged shoes for the better leathers of a fallen comrade….the degradations that humans will endure to survive….the truth that this is any war, all wars, all mankind as long as we continue thus. A masterpiece that I probably won't watch again for a long, long time. Watched via the beautiful Criterion Collection DVD.

Kon Ichikawa had lived through world war two, and saw what its effects it had on his people in Japan. But so did novelist Shohei Ooka, whose book was the inspiration for Ichikawa's film, Fires on the Plain. It's a film about the men in this war, or perhaps more universally in wars in general, who lose their humanity. The soldiers trudging along through these fields and jungles of the Philippenes in this story are almost completely without hope, if not already just that. It makes Stone's Platoon look like a picnic: at least they had certain things, like food, after all.<br /><br />They have little to no reserves or supplies or ammunition, no back-up, no sense of anything going their way in this combat that they've been thrust into. They can't even get some proper hospital care, unless if they can no longer walk at all or have lost limbs (for example, say, if you have TB, you're on your way). But its really through the prism of one soldier, a private Tamura, that we get a full sense of the futility of war, both in its bleak scenes of nothingness and boredom and decay, and those flashes of intense and brutal violence.<br /><br />In the film Tamura just wants to get some medical care. This is right at the start, and his told by his superior officer- already he is with eyes that stare off and an expression that has been drained by years of battle- that he will die if he doesn't find a hospital. He doesn't, really, but does end up in with some soldiers: at first with a platoon that seems to sort of have their act together, but is really led on by a power-hungry brute who just wants Tamura's stash of salt, and then later with two other stray soldiers who are part of a group that had previously been ambushed while crossing a road at night.<br /><br />The story isn't entirely a straight line, but it doesn't need to be. Tamura's path in Fires on the Plain is told in vignettes, little stories like when he comes upon a seemingly deserted enemy village. Two of the populous comes back to get some supplies, and Tamura sneaks up on them. It's an excruciating scene, since so far with Tamura we haven't seen him do anything outright *wrong*, but he does so in this scene, not even so much out of evil but out of fear and desperation (this is also, without spoiling it, how he gets a stash of salt). Little scenes build up so brilliantly and with devastation, like a simple task of finding a pair of walkable shoes, which there seem to be none. Or when Tamura, later in the film, discovers his teeth are becoming torn apart and falling out from lack of total hygiene. So much for food, so it goes.<br /><br />It should also be mentioned that this is a hauntingly realized film from Ichikawa, shot in a stark black and white view of the fields and woods, the cinematography filling everything we see in black-blacks and white-hot white. Ichikawa also makes sure to get everything authentic from his actors, not simply emotionally but with their own emaciated look and looks of desperation right on them. It's as if Ichikawa has to have them all surviving the film as well as characters surviving out in the wild; by wild, by the way, I mean also cannibalism. The shock of this is two-fold; first is the way that a soldier says half-jokingly early on about eating other soldiers to Tamaura, who asks if it was true and only in response getting a "don't ask" word of caution, and the second with the depiction of cannibalism itself, from the crazy starving man on the hill who pulls out guts out of his lap and says with a straight face to our hero that "You can eat me when I die." <br /><br />This makes thing especially more brutal when it comes to the director filming the brief 'action' scenes. These are, I would argue, more brutal than 'Private Ryan' in their depictions of violence in battle, the carnage that is completely random. A scene I would point to, and that contains just a shot that is excruciating to watch, is when from a high angle we see a group of about twenty soldiers walking slowly along, a hail of gunfire comes that kills only four or five, but it just happens so fast, and the soldiers just keep walking along at the same crawl. This isn't the only shot of horrible carnage that's shown - when needing to be bloody its there, but splashed across the screen like something completely of the macabre - but it drives the point completely.<br /><br />All of the acting is staggering (Funakoshi especially, who looks to be both most at peace and most horrified by what he sees in the subtlest of looks most of the time), all of the major set-pieces provide something else to the gruesome experience, and it all amounts to the ultimate question with an anti-war film: how can, or why, do people fight in wars like these? It's almost too depressing to put into words, and so Ichikawa pushes our noses right up into the muck and filth and blood and demands for us to take it in, so maybe, some day, it will never happen again. Or one can hope this, by the end of such a bleak and great film as this.

An unflinching descent into psychological and physical oblivion that will undoubtedly burn images of the truthful brutality and suffering of war into your cerebral cortex in a way not many other films will. In fact, there is simply no other war film like it.<br /><br />Director Kon Ichikawa witnessed the unthinkable horror of Hiroshima first hand only 10 days after the bomb was dropped. He has said that from that day it would always be his mission to express the pointless, empty violence humans inflict on each other and themselves. <br /><br />Mr. Ichikawa shows us that there are no winners in war... for the paths to victory and defeat are paved with the same soldiers soullessly marching down roads which only have death and destruction at their end.<br /><br />Mr. Ichikawa succeeds in bringing his message to the world thru this haunting piece of cinema.

I saw this in 1993 on a VHS tape but have been unable to find it at any source since. This is a very bleak and uncompromising look at the last days of the Japanese Army in the Phillipines. Anyone with an interest in the Pacific war would do well to view this film and see what conditions the other side fought under.From what I can tell, this is historically accurate, and depicts how easily men can descend into complete barbarism. I understand the Japanese Army was completely cut off from any re-supply in the Phillipines by 1945, so there is no doubt many of the horrific incidents depicted here happened. I might not have been able to identify with the film's characters, but I appreciate their humanity and struggle to survive. If I had to compile a list of the ten greatest war films, this film would be on it. See it if you can get it.

I watched this on HBO because it won the Oscar a week earlier. It compares favorably with fictional courtroom dramas.<br /><br />The story is of a 15-year-old black kid placed on trial for the Jacksonville, FL, murder of an elderly white woman based almost solely on the identification by the victim's husband and on a confession that the defense contends was coerced.<br /><br />About half the footage is of the trial; it's supplemented with footage of the defense lawyers (two public defenders) explaining their case, interviewing witnesses, and visiting key locations. This is edited with a minimum of needless repetition, and placed in logical order. The camera work is pretty solid. And there's a mildly surprising epilogue.

Fires on The Plain (1959) ****<br /><br />You don't see films like this anymore. 'Fires on the Plain' is an incredible depiction of the lives of the soldiers of the Japanese Imperial Army. Kon Ichikawa's masterpiece follows Tamura, a soldier with Tuberculosis as he wanders around the Philippine landscape in the last year of the war. He is sent away to the hospital by his commanding officer only to be refused treatment and so he is sent back. His CO tells him to go back and if they refuse him again then his last order is to kill himself with his grenade. He is refused again, but meets up with a band of squatters sitting outside the hospital. The next day they are shelled by American troops and Tamura flees, choosing not to kill himself, and from there he wanders from place to place trying to get to Palompon. He discovers that some men have been eating human flesh in order to survive, while others trade as much tobacco as they can for whatever they can get back.<br /><br />The film is filled with a quiet sense of desperation and desolation, with a hint of insanity. Everyone we see is skin and bones, covered in dirt wearing torn and tattered rags. Ichikawa uses his camera to catch some beautiful shots of the destructed landscape and the Japanese soldiers who walk it. Kon Ichikawa was famous in Japan for making many comedies and satires, and there are moments in Fires on the Plain that are bitingly hilarious. Take for example a shot of what appears to be a dead man lying face down in a pool of water; a soldier walks but and asks himself aloud if that is how they will all end up, to which the man lifts his head out of the water and replies "what was that?" and then drops his face even deeper into the puddle than before. Another hilarious sequence involves one man finding a pair of boots along the trail. He takes the boots, replacing them with his old ones. Another man walks by and sees that pair of boots and switches up for his old boots. The scene continues until finally Tamura finds the exchange spot and examines the boots left without hardly any sole. He looks carefully at his own and at ones on the ground, and deciding that they're both kaput he removes his own and goes barefoot. The film is filled with incredible scenes, one after another. Like Mizoguchi and Kurosawa, Ichikawa knew how to use his camera to paint beautiful and stunning pictures. There are many stunning shots of men in barren empty plains surrounded by nothing but smoke in the air and dead or dying bodies on the broken earth. There is another incredible scene where dozens of Japanese soldiers attempt to cross a road guarded by Yanks in the middle of the night, all crawling on their hands and knees as the camera watches on from above. <br /><br />The film gets its name from the columns of smoke rising up from fires on the plains seen throughout the film. They represent to the soldiers life a little more ordinary; the lives of Japanese farmers back home burning husks of corn. Their beacons of hope for the normal life however are in hostile hands.<br /><br />The film caused a stir in its day with its graphic content. Much emphasis is placed on the horror of war, not just with the enemy but within your ranks and yourself. Kon Ichikawa's Fires on the Plains is an incredibly authentic and moving, and somewhat disturbing, portrait of the horror suffered by the men making up the lower ranks of the Imperial Army. Clint Eastwood's Letters From Iwo Jima, while it is a very good film, comes nowhere close to realizing the horror of war depicted in Fires on the Plain. (Eastwood was no doubt influenced by the film, seeing as he claims to be such a classic Japanese film buff.) Many war films show that war is hell through the eyes of the winners. In Fires on the Plain, we're shown that war is even more hellish when you're on the losing end <br /><br />4/4

This film is a knockout, Fires on the plain referred to is, (the burning off at the end of harvest time) A happy memory for Tamura, He relives this in his mind many time's,and at the end of this bleak film, Like a man dying of thirst, he believe's he is home and this last illusion is all he has left. Billy Wilder's The Big Carnival (Ace in the hole) is the only film (that comes to mind)that is as bleak as this little masterpiece by Kon Ichikawa. While I think the whole film is brilliant Two scenes that come to mind are when a platoon of Japanese soldiers trying to escape (Crawling on there belly's)are ambushed by Americans and massacred,True Horror, And as an American soldier and a pretty Philippine Girl soldier are having a cigarette on the side on the road, she smiles as she flits with the yank,then her face Changes to rage as she see's two Japanese soldiers trying to surrrender, she grabs a gun and kills them with joy, The American soldier attempts to stop her but has no chance , to me this speaks volumes at the atrocity's committed by the Japanese in the Philippines, all in all a great film if you have the stomach for it.

The main achievement of this film is that though racially unipolar, the film still manages to carve out a tableaux of war portrayals that leave a lasting identification with whoever may view it, and whoever was present at this time. Though good films may have the ability of universalizing their subjects, which is often a hard thing to do; great films have the ability of universalizing their unipolar subjects, which is what this film does.<br /><br />Instead of carving a context of unity, the film depicts the Japanese in the sick finality of the Phillipines war-front in February, 1945, making signs for pacifism or war, but rather making signs of the feelings, death, destruction, victory and sickness of war with the bloody hands of the defeated.Far different, and superior, to films such as Apocalypse Now and Full Metal Jacket, both which needed a satirical methodology of trivializing and depersonalizing the American troupes, and using all races as one struggle, which is fine, yet not as grand as a film that uses one race and view, which would look fascist if created in America, to convey the horror of war and show what it is really like.<br /><br />The only way the main character makes it through this movie to the end, is by being sick, thence inedible; hence through this character, through his sickness, his saving face, we see the end of WWII in the Phillipines in February of 1945, and the way in which the Americans, Japanese and Phillipinians came together in bloody acts of warfare where you live to die.<br /><br />The film is patently influenced by a neorealist way of filmic portrayal, which is original and beneficial to a viewer, whether then or now, for the neorealist techniques it employs conveys all the horrors of war in pictorial form, whether a showcase for pacifism or 'militaristic responsibility'. Like Germania Anno Zero, by Roberto Rossellini, a story emerges from the environment and the conditions associated with it.<br /><br />The film's opening, with the two-way discussion between the two Japanese soldiers, prefigures and reechoes the events. Through this opening we feel that the struggle is human against human, and human with human; it shows that they relied on each other to face the enemy in the past battles, but now, in this opening, or 'pivot' of the experiences of the Japanese in the Phillipines, new information is relayed to the main character Tamura, giving a presentiment of a cannibal reliance on one another if they wish to survive.<br /><br />The jungle is gritty, wet and thick, and the sky is not infrequently cloudy and pouring. We wade with the stragglers though puddles and marshes, as sick as the land around them. Nameless cadavers are strewn everywhere. Every now and then one can not tell if they are bodies, rocks or corn. Apparently there is no difference here, all is dead and sick. All is dying. All they have lest to feed upon are rare monkeys and dead bodies of fallen comrades and/or nameless enemies.<br /><br />Often Tamura meets a fallen other near death. Though crushed in spirit, and crushing his, some offer up their bodies for him to eat, but he refuses; he still, like Hiroshi Kawaguchi as Nishi in Giants and Toys, will not droop into the death of dignity and Japanese morals; for this is all he really has to hold up for his survival, a dignity of self. Hence, when Nagamatsu is dissecting a soldier for consumption, he shoots him because of it. Tamura may be used to the killing, but to the sickness of killing and pillaging he can't decipher. He is neither a good man or a bad man. He wishes to survive, but will not go the extra mile beyond simple straight-war-killing. His self belonged dead on the battlefield, he isn't happy here to wade and wipe the weak for his survival.<br /><br />The sickness he carrys he sees everywhere, in everyone; and sadly he lacks the ethical rationale of thinking either thinking entirely about others, since he can't give up his body for them since of his contagious malady, or thinking entirely about himself, since he sees the sickness in everyone, though still killing them even if they do no harm. Seen in his attack on the two Philippians's in the hut. He can't see anyone. No one can see anyone. The only see an aversion from malady and an adversion to health, the heart of survival instincts.<br /><br />Often, an arm appears pointing to the left of the screen, towards what must be hope, for there, in that far Thule lies their freedom. Yet it is blocked by American soldiers, leaving the Japanese stragglers to slowly die in this disconsolate dirt. Even a church tower appears, reflecting the light off an unseen sun. But on closer inspection crows flutter wildly about it; religion too is an air of poison.<br /><br />Nobi, the Japanese title of the film, gives more evidence to the themes, or feelings of the film: the servitude to fate, the heaviness of existence under leaders and lives controlled by others. Its proper Anglophone translation has a subject of heavy debate among historians, as non-Koreans translate it as "slave" and "slavery", while many Koreans argue that nobi was not a slave system, but a servant class system that does not meet the criteria for slavery. A way to typically to escape wrenching poverty. This improves upon the war theme, and symbolism of soldiery.<br /><br />Isn't it important at the time period to ask ourselves what the purpose is of what will become our won history? Should we be comfortable of letting it unroll without conscious effort for change? Is it not who we are fighting, that age old history question, but rather why are we fighting? Fires on the Plain is with Eiji Funakoshi, Osamu Takizawa, and Mickey Curtis; based on a novel by Shohei Ooka. In Japanese with subtitles.

"Nobi" or "Fires On the Plain" is a film that is so excellent on so many levels, that not enough good things can be said about it. My only regret is that I was not able to see this 1959 film sooner.<br /><br />Being something of a film purist, I tend to look at films for their artistic merits based upon dialog, acting, photography and even the efforts to remain true to the period in terms of costume. Ultimately, I want to know if the film is "truthful" enough in revealing the human condition to make me think without oppressing me with what the director wants me to think.<br /><br />"Fires on the Plain" is a great film because it crafts a portrait filled with realistic human reactions to the dying fires of a great historical catastrophe.<br /><br />Ichikawa's film is a condemnation of war on all levels -- as any good war film should be. War is horrifying, bloody, destructive. It is also murderous on the psyche. However, what is fundamental about "Fires on the Plain" is its unapologetic look at the Japanese soldiers. It shows them slowly collapsing under the weight of superior American firepower and their nation's inability to wage a war of its own making. A fatalistic code encouraging death before surrender is at the heart of this madness.<br /><br />I was astonished to see such an honest and brutally close look at the bitter fruits of Japan's military misadventure made just 14 years after the end of what the Japanese call the "Great Pacific War." Ichikawa, reveals what the Germans called the "war life," the plight of the common soldier.<br /><br />Ichikawa's film is interesting, since even today Japan is having a hard time fully coming to terms with its wartime fanaticism, its subjugation of conquered peoples, the racism of its war against the Chinese and war crimes which included cannibalism by soldiers and officers practiced not only against one another, but against Allied prisoners of war.<br /><br />Ichikawa produces a stark representation of the victimization of soldiers by a confluence of bad political decisions and cultural pressures.<br /><br />This stark examination is skillfully done by portraying the doomed soldiers as human beings who exhibit, at various times, fear, brilliantly laconic humor, dialog enriched by its sparseness, and a plot whose complexity is belied by the grim, wilderness setting.<br /><br />Ichikawa's portrait is a ragged and painful tapestry of defeated men. The tubercular Tamura, played as a woebegone and gentle soul by Eiji Funakoshi, is a good soldier who can't abandon his humanity, though he is as frightened and lost as his comrades. Before he departs for a hospital that will reject him as too healthy, Tamura is given a hand grenade by a superior who, recognizing the hopelessness of their situation, advises Tamura to kill himself.<br /><br />Why Tamura's hopelessly ill-supplied and militarily incapable unit was not ordered to surrender at the start of the film is telling. Ichikawa makes it plain that the war is over and everyone is merely waiting to die. As Tamura leaves his unit for his hopeless search for physical and spiritual salvation, he sees his comrades pointlessly digging an air raid shelter. They appear like corpses looking up from their own mass grave.<br /><br />We later watch as the overworked hospital's medical staff abandons the dying patients to an all-consuming American artillery barrage. The pathetic patients, who crawl from their huts in a vain attempt to survive, appear like pathetic, serpentine creatures dragging themselves from an omnipotent force. You know they won't survive.<br /><br />Ichikawa makes it plain that the only thing worse than a defeated army is one that has lost its honor by abandoning its humanity and its comrades. As Tamura staggers through the jungles of Leyte we encounter the noble, the dying and the exploitive. Cannibalism rears its ugly head as soldiers begin to eat one another rather than surrender to American "corned beef."<br /><br />When the men do talk of surrender, the propaganda of how Americans kills prisoners is countered by a worldly-wise soldier who reveals that the approaching Americans feed and care for prisoners of war because they, unlike the Japanese, respect brave soldiers who are forced to give up.<br /><br />It is the Japanese who intend to die fighting for the Emperor long after resistance has lost all meaning. Those willing to fight to the death will be killed. It is the calculus of war.<br /><br />After shooting a murderous and cannibalistic comrade, whom he earlier offered his own body to as food, the fatalistic Tamura's careless surrender also seems to be an intentional form of suicide. His death is a lonely image. Was Ichikawa trying to tell us of the internal conflict of the ordinary soldier who wants to live, but who is still trapped by his nation's suicidal cultural codes?<br /><br />If someone watches this film carefully, he or she will see that absolutism and fanaticism is the enemy. The Americans are portrayed as a technologically advanced people willing to employ that technology in the form of inexorable military power -- a lesson that transformed Japanese postwar society. Ichikawa's film isn't so shallow that it indicts America. Ichikawa indicts the sedimentary layers of Japan's destructive policies that created the war and then to continue it when all was lost.<br /><br />Ichikawa does not mention the nuclear weapons dropped upon Nagasaki and Hiroshima. He doesn't have to. The slow-motion destruction of the Imperial Japanese Army in the Philippines reveals the seeds of Japan's immolation.

A harrowing masterpiece on the sheer madness and despair of war, Fires on the Plain (Nobi) is not going to be to everybody's taste: this is a war movie in the truest possible sense of the term, one that resorts neither to flag-waving patriotism nor saccharine sentimentality. Nobi cuts deep, it's ugly, tenebrous and bleak as few things ever committed on celluloid will ever be. This is war behind the cannons, with no triumphs or heroes, no moral victories or defeats to be had, just a handful of gaunt and terrible-looking men strewn across a land ravaged by war like penitents fleeing a great disaster. The characters defy moral judgment because they are creatures beset by a great woe, a woe that does not permit questions of a moral nature. War and survival. Pitting one's will against the other's in a battlefield arena. The loser is simply removed from existence.<br /><br />Tamura, soldier in the Japanese Imperial army, is discharged from his platoon and ordered to report in a nearby hospital on account of him coughing blood and being disliked by the rest of the platoon. He's told to never come back and instead commit suicide by hand grenade in case the hospital rejects him. Which it does. The hospital is nothing but a shack made of wooden planks and the hospital surgeon simply tells him that if he's capable of walking he's just fine. It is in that shabby excuse of a hospital that one of the most harrowing scenes of the film takes place. As the area is carpet bombed by American planes the doctors and those who can walk and sustain themselves flee from the hospital and into the woods. Moments before the hospital is blown to pieces, the gaunt and crippled figures of the sick and injured crawl out of it in every manner of posture, dressed in their sickly white robes, as if the building is some kind of beast spewing viscera and filth out upon the earth.<br /><br />That is Nobi's greatest success; the stark and brooding depiction of the suffering of war in simple but evocative images, without melodrama or pseudo-heroism. Soldiers cross a marsh, wading knee-deep in mud, move across the opposite bank and into a field only to discover enemy tanks hiding in the woods, their lights shining like malignant eyes as they scan the dark. A procession of injured soldiers, dirty and half-mad, crossing a road, dropping to the ground on the sound of enemy planes. Buzzards feasting on a pile of dead bodies. An abandoned village. A mad soldier that believes himself to be Buddha sitting under a tree, covered with flies and his own excrement, offering his arm to be eaten by Tamura when he's dead. These are the images Kon Ichikawa conjures for our eyes, merciless and unflinching in their poignancy but honest and raw.<br /><br />Nobi doesn't rush to get somewhere. It is content to follow Tamura's travels through the war-torn land as he tries to reach the regrouping center of Palompa, and observe the madness and obscenities of war. The movie wades through the sludge of the horror of war, slow and brooding, just like the characters it follows. The final thirty minutes with Tamura taking refuge with two deserters who feed on 'monkey meat' are the closest Nobi comes to adhering to conventional narratives and they're no less powerful for that matter. Strikingly photographed in black and white, with great performances from the cast, and Ichikawa's assured direction, Nobi is not only among the best war movies to be made but also among the finest of Japanese cinema.

Every American who thinks he or she understands World War Two should see this movie. Few Hollywood films about the war have defied the stereotype of Japanese soldiers as emotionless brutes obeying orders without thinking. We like to think that every Japanese man was ready and able to fight to the death, right up to the day we bombed Nagasaki. "Fires on the Plain" shows a different reality: troops pathetically undersupplied, demoralized and starved to the point of cannibalism. They euphemistically refer to human flesh as "monkey meat." The movie and novel on which it was based also put to death the myth that Japanese soldiers all preferred death to surrender: They had good reason to believe that their enemies were in no mood to take prisoners. To me it raises a question most Americans would rather avoid: If the Japanese military was so beaten down at this point in the war, why was it necessary to nuke Hiroshima?

This is undoubtedly the most harrowing black-and-white war film that I've watched; as a matter of fact, the only Western director during this time to remotely approach its level of intensity and sheer visceral power in his work was Samuel Fuller. By the way, I had attended a Kon Ichikawa retrospective at London's National Film Theatre in September 2002, but only managed to catch some of his work made between 1960 and 1973.<br /><br />The film is certainly as depressing as it's reputed to be; however, it also displays welcome touches of black humor throughout - the 'dead' man who wakes up to answer a querying soldier and promptly 'dies' again, the deliciously ironic shoe exchange sequence, a moribund eccentric telling the famished hero which part of the body he should eat, etc. Incidentally, the script was written by a woman - Natto Wada, the director's own wife!<br /><br />Ichikawa is a versatile and prolific film-maker whose reputation may not be as high as it was during his peak years (1956-65), but his direction here is often striking - the startling pre-credits sequence (the hero is violently rebuked by his superior officer for being discharged from hospital earlier than expected!), the death of a surrendering Japanese at the hands of a gun-toting Philippine woman, the bombing of a hospital (with the medical staff running away to save themselves, leaving the wounded soldiers behind to crawl out of the shack at their own limited pace), the automated march in the rain of the disillusioned soldiers (which also involves the afore-mentioned business with the shoes that, actually, recalls a similar scene in ALL QUIET ON THE WESTERN FRONT [1930]), a hill littered with the bodies of soldiers attempting to climb it, the finale, etc. Surely one of the film's major assets is the stunning cinematography of the unforgiving and desolate muddy landscape.<br /><br />The film is notorious for treating the taboo subject of cannibalism (almost 10 years before it became a staple of horror movies) but Ichikawa's approach is not only subtle but highly effective: the flesh is actually referred to as "monkey meat", while the hero is seen partaking only once (and promptly spits out the piece along with most of his decaying teeth!); conversely, when the weak underling soldier (played by Mickey Curtis who, despite his name, was a Japanese pop idol of the time!) rabidly indulges, the ground nearby is splashed with blood.<br /><br />In the supplements, Ichikawa remembers that Method-practicing lead actor Eiji Funakoshi (whose portrayal is unforgettable, by the way) arrived on the set at starvation point - with the result that production was forced to shut down for two weeks until he recuperated! Donald Richie's perceptive interview favors the nihilism of the film over the underlying patriotism behind such gut-wrenching recent Hollywood fare as SAVING PRIVATE RYAN (1998).<br /><br />FIRES ON THE PLAIN is universally considered to be one of its director's top efforts and, out of the several films of Ichikawa I've watched, the closest to it in spirit are THE BURMESE HARP (1956; another character-driven war film but with a spiritual tone, and which is also available on DVD from Criterion) and ENJO aka CONFLAGRATION (1958; which was actually given a limited theatrical showing locally, as part of a foreign-film week, a couple of years ago). Personally, I also have a particular soft spot for the director's stunningly stylized color extravaganza, AN ACTOR'S REVENGE (1963), which I've actually caught twice at the NFT in 1999 and the afore-mentioned 2002 retrospective.

This is one of the most anti-traditional war movies about was I have seen. Instead of the typical films that stress glory and perhaps super-human characters (like John Wayne), this film is the exact opposite--stressing the de-humanization that ALSO happens in war. The story concerns the Japanese who are stranded in the Phillipines after the US returned in late 1944-early 1945. By the time the movie begins, the Japanese have clearly been beaten but because of the insane logic of Bushido, they cannot allow themselves to consider surrender. At one of many poignant moments, the lead character is told at the beginning of the film to report to the hospital since he isn't capable of fighting due to his TB. The problem is that the hospital won't accept him, so his commander tells him to once again go to the hospital--and if they won't accept him he should blow himself up with a grenade! Well, this happens just in the first five minutes of the movie--a lot worse things befall this soldier and the few stragglers because they won't surrender. Plus, there is a case in the movie where a soldier DOES try to surrender but is gunned down. This happened a lot later in the war because so often the surrendering Japanese soldiers booby-trapped themselves to blow up when they came near. In addition, the film shows the most vivid depiction of starvation and the accompanying madness of any film I have seen. In addition, cannibalism, cowardice and betrayal all accompany this very gritty, realistic and depressingly realistic film. You simply couldn't have made a better film of this type. Horrible but great.

During WW2 in the Philipines, Japanese soldiers are starving, dying, growing weak, and becoming more and more insane. A small group of soldiers, trying to stay alive, have eventually resorted to cannibalism. This film perfectly portrays the insanity that overtakes people under extreme conditions. There are a few humorous parts in this movie, but the majority of it is just a very slow moving and realistic film. It follows these soldiers from one painful moment to another, and eventually to death. A very interesting film, showing the death, and the horror, of what may have been the worst war the world has ever seen.

Although it has been a failure in movie theaters because mainly Mylene Farmer, one of the 3 top stars in France had not the first role. Fans had changed their mind after that and were waiting for it on DVD. When it has been released on DVD this year it has have a tremendous success ! The others fails was the slow pace and the incredible length (3h) at that time (1994) that have annoyed critics. But the melancholic story makes mandatory that slow pace and long time. The moral of the film is you cannot escape from the death you are destined for. It is the same theme than in the movie "Final Destination" and makes it a Gothic tale. The atmosphere is very melancholic.

with that, carry the same dark weaknesses we all unfortunately possess: lying, deception, laziness, the list goes on.<br /><br />However, as an American, I was shocked to see that corruption and racism exist in today's police force as is reflected with the Duval County Sheriff Department's horrible detective and police work with the murder of a white female tourist and a 15-year old accused black youth. I shook my head in shame that detectives were protected from their abusive work while a young man's LIFE hung in the crooked balance of justice.<br /><br />However, there is also a story of hope with our judicial system and how poorly-paid public defenders stuck by their guns (irony intended) and forced the truth from the detectives. I wanted to fly down to Florida and tell anybody with influence what a great public defender team they have in Duval County; those lawyers care about the "little" man and, most importantly, for justice.<br /><br />The other story line is about faith and family. Praises to the accused's family and their strong Christian (submit any dedicated religion) beliefs and wonderful family values. I hope they win their lawsuit against the Duval County Sheriff's Department.<br /><br />Bravo for justice!!! Bravo for the little guy!!!

I finally managed to see this movie...after so many years of expectancy...<br /><br />I was so curious to see if this movie it is as bad as some people say..<br /><br />And my opinion is that this movie it wasn't bad at all,on the contrary it was AMAZING...<br /><br />I enjoyed every second from it...from the beginning until the end...<br /><br />The actors were great they sent me the feeling that i was living the story at the same time as the movie was playing...<br /><br />The landscapes were so beautiful were the film was shot...and it did charmed me.. Also the music was extraordinary and i have nothing<br /><br />to reproach..<br /><br />I think that the plot was very original i don't think that i saw a movie like this...<br /><br />It is a shame that it isn't recognized all over the world..to bad for those who didn't get the chance to see it. i give this movie 10/10

How to summarize this film ? it is simply impossible. Why you should see it ? maybe for the story, very probably for the actors (Giorgio, Catherine...), above all for the universe and the poetry. This is a tale. Sad, sometimes dark, but a tale. I LOVE this film !!!! Just waiting for the DVD !! Thank you mister Boutonnat.

Giorgino can to some people look a bit long but it's one of rare real romantique adventure film. It could be compare to Docter Jivago with a bit of Sleepy Holow. You must see it.

I think it's incredibly hard to write any kind of full-scale review to Giorgino, merely because it's one of those viewer-dependent, complex, poetical and philosophical movies that are brain-wearing if, while watching them, you're trying to enjoy their shell and get to their core simultaneously, yet there are several things which are certain and beyond any doubt for any man of art (which, I hope, I am). The first thing: it's a certain masterpiece, even of that kind of art which remains through a long long time; the second: it's one of those rare "dark" movies in which darkness is poetic, even romantic, attractive and much more sad than depressing, like the art of Pieter Brueghel or Caspar David Friedrich. As to the core of the movie, someone called it Kafkian, though I don't agree with that because actually it's far beyond Kafka's misanthropic logic and much more like Edgar Poe's parables: dark and scary but through that touching the most gentle strings of our souls. Actually, on the poetic side (which is much more important than the narrative), Giorgino is a tale about eternal peace and love which can be achieved only through eternal childhood of soul. Those who have such souls are usually branded as crazy by our society, but from another point of view, they all have the virtue all the others lost when become "grown": the virtue of God's love. Indeed, Giorgino is a very Christian movie, "Be like children" (Mt 18:3) is it's real hidden tag-line, though the movie never deals with any kind of moral and concentrates only on the Christian philosophy for, dare to suppose, true God is beyond any human moral. Yet I think that Boutonnat is too harsh portraying "grown" people as a sort of demons trying to steal childhood from rare survived souls, but it's his point of view and he has a right to think so. While watching Giorgino don't try to look for some hidden symbols (though there are some), better look for thoughts expressed through characters and their behavior, and do learn from them. Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow". Also, interestingly enough, the scene with Death in the form of an old woman with sunken black-ringed eyes riding a cart, instantly reminded me of Pesta (Plague) from the series of drawings by the Norwegian painter Theodor Kittelsen, depicting how a black plague is sweeping out the population of a small town in the mountain valley. Is it a coincidence?

That's certainly not the best film ever. But that's certainly worth seeing for people with a special kind of mind. So the one who loves sadness and depression, and scary fairy-tales at night, and wolves and real madness - welcome! If you find a copy, of course:) As for me, I could stand it only once... But since that the Wolves, and Saint-Lucy, and children's drawings, and a headless Christ live in my nightmares.

Giorgino is a long, excruciating journey from bad to worse in the life of protagonist after whom the movie is named. Young demobilized, gas-poisoned First World War lieutenant of very delicate health, who previously was a doctor in an orphanage for children with some mental deprivations, goes in a search of their new location and finds much more than he ever intended to and quite of a different nature. Depressive atmosphere of ultimate despair, where the insane ones are much less horrible than the sane, where the madness is a kind of poetry, will hold you hypnotized from the very first frames of this film to the last. And all the beauty: beauty of the winter and mountains, beauty of snowy landscapes and wild woods, I don't even know how all the sorrow and sadness of last days of war could be made so beautiful.

<br /><br />Giorgino is a strange, dark, obsessive object; the casting is impressive, the plot is powerful, reminded me of Edgar Poe's tales. Probably not a masterpiece, but it does leave us with the remembrance of strong images, fine music, fear, sadness, confusion, and a sentence that says it all : the wolves are coming. GIORGINO is quite forgotten now, and when it was released nobody seemed to appreciate it. That's a shame. If you ever have a chance to see this, well... give it a try.

Simply one of the best movies ever. If you won't get it - sorry for you. I believe that someday people will include this one in their all-time top 10's. Not now, but in the far future.

A wonderful film - a charming, quirky family story. A cross-country journey filled with lots of interesting, oddball stops along the way (& several very cool cameos). Great cast led by Rod Steiger carries the film along and leads to a surprise ending. Well directed & shot - a really nice movie.

I loved this film. A must see for any Rod Steiger fan. Producer Suzanne DeLaurentiis and Director Stewart Raffill have brought us a true family film that touches the soul. An incredibly well put together movie with a beautiful soundtrack.

I watched this movie with my mother. She is 81 yrs.old and was raised to be a bigot. She even acknowledges this. I don't think she really understood what was happening, she had already made up her mind that the kid was guilty. Scary. I felt for this child and his family. What torture they went through and remained faithful. That is true faith. Back to the movie. I was disgusted by the police force and their ineptitude. I am so glad that this public defender was chosen to work this case. It was very fortunate for this family that they had a person that cared enough to see through the crap that was handed to him. I could tell when one the cops was lying. He would not look the defender in the eyes. His eyes moved to the side when he answered the questions. It is unfortunate that a black person has to be punished because of the color of his skin. I read the book about the black man being dragged behind a truck by three white men. They were finally found guilty after many years. I can't remember the title, but it was the same premise. Whites doing whatever they want with blacks. I am sure the child in the movie will be traumatized for a long time, if not forever. I pointed out to my mother that most serial killers and pedophiles are white. No comment from her. I want to commend the director and producer of this film. I feel the exposure they gave to this blatant injustice was a necessary project. I am an avid viewer of indy films. I feel that they are well written and have substance. I am pleased that I happened to grab this movie on the shelf. I felt compelled to write a comment because of how strongly I feel about the film and the prejudice that continues to exist in our modern society.

This film is a sleeper because Rod Steiger's is the only big name in the credits. Yet, all of the supporting actors fit well with his character. It was fitting that in his last film, Rod Steiger reminded us once more of his inventive power as an actor. He portrayed a grandfather's impulsiveness, stubbornness, and acceptance of the end of life in a characteristically individual and convincing performance. Because his character was close to death, the story brings us closer to the most precious things granted to us: the privilege of life, relationships with family members, and the empathy of those who care for us. His search together with his grand daughter for one of his sons provided enough suspense to keep me waiting, expecting a highly-charged climax such as the meeting of two long-separated elderly lovers who were also on the cusp of death in "Forever Young." I wondered how the meeting would be staged and how tightly my emotions would be wound by the time he and his granddaughter reached the end of his quest. I was delighted to find that the story brought more than I expected. The delightfully satisfying climax brought for me a greater appreciation of the value of the precious gifts of life, love, and family that are enjoyed today by me and by all of us.

I found this film rather brilliant. Initially I wanted a "when animals attack" flick along the lines of "frankenfish" or even "rogue" but was delivered a truly horrific ordeal that was not devoid of humanity. Having been to the areas this was made (including the croc farm at the start of the movie, even sharing the same guide!) it added to the fear factor. Those crocs really are everywhere up there, though I don't think they had the "attitude" of this beastie. Yes there were some melodramatic moments but they contributed rather distract from the whole atmosphere. I genuinely cared for the characters and shuddered contemplating "what would I do?" in their boat. Not knowing where your enemy lurked or the sound of the croc chowing down at night was genuinely frightening. I would argue that this flick is one of the best horrors I have seen in years (coming close to the descent). I give it four alligator handbags.

**SPOILERS** Looking for a little more excitement then seeing crocodiles being fed at the local game reserve sisters Grace and Pat, Diana Glenn & Maeve Dermody, together with Grace's boyfriend Adam, Andy Rodoreda, decide to take a trip upstream in the desolate and deserted, of human habitation, Australian Mangrove Swamps.<br /><br />With their swamp guide Jimmy, Ben Oxenbuld, at the helm of his motorized boat the four get upended by a giant saltwater crocodile who quickly grabs and drags a terrified Jimmy down to the bottom along with him. Grace Pat & Adam end up stranded on a tree in the swamp with Pat hanging on for dear life on the capsized boat. The rest of the film has the hungry and determined crocodile play a cat and mouse, or crock' and human, game with the trio that ends in a showdown at a mud bank just where the dead and dismembered body of jimmy finally came to it's rest.<br /><br />Both the director and actors in the film take full advantage of the swamp making it at times far more scary then the giant crocodile swimming in it. We get to see the killer crocodile just about a half dozen times in the movie but everyone of them hits you, and Jimmy Grace Pat & Adam, right in the gut.<br /><br />Alway there were kept in suspense by the giant reptile always doing his damage from beneath that comes so unexpectedly that it, the crock attacks, has far more effect when you don't see them coming then, like in the last ten minutes of the movie, when you do. You wonder right from the start who in the end would survive the crocodile attacks and eventually live to tell about them. The ending with the crocodile vrs human confrontation was about the weakest and most part in the film. <br /><br />The crocodile who was both so cagey and effective in the earlier scenes seemed to have punched, or swam, himself out not having either the strength or speed to grab, with his deadly jaws, and finish off the sole survivor of the expedition. In fact the killer crock was so ineffective that even after he gabbed his victim, or victims, he just couldn't hold on to them. This in the end turned out to be fatal on his part.<br /><br />A lot like "Jaws" the film "Black Water" has the killer crocodile, like the great White Shark in "Jaws", more interested is killing his human prey then eating them. With all the food available in the swamp and rivers that he inhabited the crocodile was only after the quartet, Grace Pat Adam & Jimmy, for invading his watery domain that he felt was the grand ruler of. And for daring to do that they were to pay with their lives!

unrealistic

The movie starts out with three people on a play it by ear holiday who decide to first visit a crocodile farm and then go on to a little lighter activity, a "fishing" tour.<br /><br />You pick up some interesting information about crocodiles during their visit to the farm and the information adds just enough to increase the suspense later during the movie as you recall what was told earlier on.<br /><br />The action in the movie is well timed and not over done. Suspense is built through the "what ifs", the "unknown", and the sometimes gut wrenching decisions the characters make in the movie.<br /><br />I found myself wondering what I would do if I was in the same boat, no pun intended.<br /><br />The film quality was really good and the effects where realistic, believable and not over the top or cartoon looking and out of place, the way you sometimes get with CGI.<br /><br />As a horror movie buff I watch just about every horror movie I can get my hands on, in just about every genre, and this is one of the best "crocodile" horror movies, if not the best I have seen.<br /><br />Watch this movie and you will not be disappointed.

"Black Water" is a movie that in a way surprised me, and definitely exceeded my original expectations. "Black Water" is truly a very well structured, unpredictable, thrilling, well directed, and well creepy movie. The plot is actually somewhat original, and will definitely keep you intrigued with it. One thing I love about this movie is the direction, because mainly on how it surpassed my original expectations. My original expectations of "Black Water" was that it was a crappily made, acted, directed, paced, and boring movie. It really wasn't. Well the acting is nothing to praise because there were times were I feel they didn't show enough emotions, and there are some lines that feel just so scripted. However I love the direction because all of it's shots seem predictable, but arn't. Like when watching it say the camera gets a slow shot of the water, and it goes quite, you're like the croc's about to attack. However the croc's attacks are very unpredictable(which was bad for me who doesn't handle films like this all to greatly), and this does make you jump. Plus I just love that it's one of those horror movies that don't rely on the sudden big sound blast to make you jump, but instead the actual movie. I also like how the story is about people who are trapped in these trees, it made it seem very real, and definitely kept your eyes on the screen. I must say I didn't think the opening 20 so minutes were done well, and I think they made the boat a little heavier than it would have been in real life. Plus I didn't like how they tried their absolute best to make the characters situation seem entirely hopeless when it really wasn't. Also again I just don't think some of the characters actions were realistic. For example I wouldn't have gone anywhere near the water knowing their was a crocodile in it, let alone a killer one. However these problems really arn't that major, and I was still able to enjoy the film. Overall as far as movies go, I've seen better, but as far as animal attack horror films(a genre I get easily scarred at) it's one of the better ones you'll see. And sure it's not perfect, but that doesn't mean it's not worth a shot.

If you've ever seen Open Water , this is the same kind of gritty, edgy, indie style of film. i liked the action, suspense. the slow building of it all,, i just hope they don't do to this one what they did to Open Water, with that sequel.. but anyways,, the one thing i didn't like was the annoying younger sister,, i was rooting for the croc the whole time.. film starts out pretty much like it should,, kids packing up for a trip,, they hire a guide who mysteriously left 5 mins. before they got there,, so i guess his assistant takes the two sisters,, and the boyfriend out on the water , now mind you this is the second day of their adventure,, curiously enough the first day they spent at guess ,, hmm a crocodile farm.. so they are out there and all is good for a little while,, then bang,, crocodile time... very intense,, you know something in this movie you don't see the crocodile, a whole heck of a lot,, but when you do,, gosh it is very scary,, i love the croc's snout and eyes,, and the shroud of fog that seems to enshroud the croc every time he raises his head above the water,, very very creepy, but good,, overall this is a great film,, if you can get past the annoying little sister.

When I read the synopsis - 3 people lost in the wild battling against a huge crocodile - I wasn't exactly drawn in. It sounded like the typical yawn-movie horror formula of a bunch of people stalked by a monster - except in this case there are only three of them, so we wouldn't even get the macabre 'joy' of watching them get picked off one by one.<br /><br />However, I watched it (couldn't sleep; nothing else to do) and it turned out to be much better than expected. The acting is great, the atmosphere tense and you really get that rare sense of a low budget winner.<br /><br />Horror as it should be done. First-rate film-making. It's not perfect but it's well worth seeing. I give it a 7.

BLACK WATER has to be one of the best Australian movies I've seen in many years. My girlfriend and I sat gripping each others hands, jumping in all the right spots. This is as much a crocodile film as OPEN WATER was a shark film. In other words, the creatures are merely part of the dilemma, the trap in which people find themselves through circumstances. How director's Andrew Traucki and David Nerlich wring as much suspense and terror from such a modest situation is amazing to watch unfold. And when I say terror, its not overblown, artificially constructed squirm moments, but more little touches that when you ask yourself "how would I feel in that situation" lead you to conclude "scared witless". Performances were great, the pacing and gorgeous cutaways to other life in the mangroves were excellent and the ending moments of the film felt very right. This is a fitting feature debut for two directors who should rightfully by very proud. Go and watch this very beautifully shot and acted suspenseful film.

Went out with my friends and saw this movie last weekend here in London. We didn't know what to expect, the poster gave some of it away, and I won't say any more so as not to spoil the plot, but we found it to be an excellent film with great acting, convincing plot and scary as hell! Having done some research on the making of the film I have to hand it to those guys, the filmmakers, actors, writers, etc., for having put together such a film with such limited resources. Post-production very well done, too. For all of that I give them a 10 out of 10, and I hope they will continue their fine work. Keep it up, guys. You rock!