The contents of this boxed station are up to the usual high standards of the BBC. It should be distinguished that it was not conceived as a single integrated documentary series. It is actually a collection of separate, unrelated series (10 series in all) produced by the BBC over a span of some 16 years from 1989 to 2005. There is no popular thread between them except that they all narrate to WWII. Those wanting a straightforward, integrated sage of the War would do better to peek at the multi-award winning 1975 “World at War” series. Nonetheless, the various series gathered here are suitable in themselves and have individually garnered a plethora of awards. It is unprejudiced that they were not meant to be cobbled together as a area and thus, taken together, back more as a collection of genuine individual documentaries than a comprehensive history of the Second World War.
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The BBC position presupposes a basic knowledge of the war on the fraction of the viewer. It does not camouflage all aspects of the conflict. In fact great parts of the war are left out. But what it does touch on, it does so in greater depth than ever before. The finest parts here are the documentaries on the Nazis, the Final Solution and the Russo-German war. The two separate series on the Nazis, one examining their rise to power and the other on the Final Solution bad among the finest documentaries to have been made on those subjects. The collection also benefits from its more new production date, with greater access to film and documentary archives from the outmoded Eastern bloc.
The emphasis of the site is definitely Euro-centric. Some events are touched on at enormous length while others bag hardly a mention. This is the result of it being an ad-hoc collection of unrelated series. An fantastic three hours are devoted to the evacuation from Dunkirk. There is then no sage of the subsequent Battle of Britain and only passing mention of the London Blitz. The attractive victories achieved by the Germans in the early months of the war are given rather short shrift. So to is the revolutionary gain of warfare that helped them attain this, the Blitzkrieg. While the Holocaust was one of the most terrible crimes of the 20th century, devoting 5 hours to it in “Auschwitz: Inside the Nazi Region”, plus even more in “The Nazis: A Warning From History,” meant that the Holocaust accounts for over 1/4 of the entire situation. In difference, the entire Asia-Pacific war is relegated to a mere 90 minutes. And the focus of those 90 minutes is not actually on a chronology of the Asia-Pacific war but on the reasons gradual the Japanese Army’s transformation from the humane, “civilised” army that fought in WWI to the barbarous one that perpetrated so many atrocities in WWII. It makes for one of the most spicy documentaries in the plot but it is not in the demolish meant as an legend of the Asia-Pacific war. The dwelling as a whole is thus very lopsided with an overemphasis on the European theater and especially the Holocaust. The result is that while the individual series are broad, they do not add up to a balanced and comprehensive whole. Level-headed it deserves at least four stars for the sheer quality of the individual documentaries. This situation will be more estimable for viewers who already have a fairly superb purchase of the war and are alive to on going deeper into particular topics. It will appeal to those wanting to examine less often tackled subjects, like the above-mentioned transformation of the Japanese Army for instance, or the morality of the allied firebombing of German cities, or the reasons leisurely the intense brutality shown in the Russo-German war compared to the war in the west. It is definitely more opinion provoking than your usual run-of-the-mill war documentary.
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As it is such an extensive and disparate collection, it is not possible to write an article discussing the merits and faults of all 10 separate series within the 600 word limit imposed by Amazon. For those eager, more extensive reviews can be found under each individual series which are all available separately. Viewers should impress that the four most novel series are in a “docu-drama” rather than customary documentary format. 1) “Dunkirk,” 2) “D-Day: Reflections of Courage,” 3) “D-Day To Berlin,” and 4) “Auschwitz: Inside The Nazi Situation,” are all in docu-drama get. “Dunkirk” is a complete dramatization (grand like a TV movie), while the other three have a fairly obedient mix of archive footage, interviews with veterans and re-enactments and thus more closely resemble old-fashioned documentaries. I am not a fan of dramatization. I can notice where dramatization has its merits as in showing the discussions within the various High Commands, or internal Nazi meetings (like the Wannsee Conference) where there is no archive footage available, but some of the re-enactments have no genuine military or historic significance and help only as drama. Of the 4 docu-dramas, the 2 most successful were “Auschwitz: Inside The Nazi Position” and “D-Day To Berlin,” with impartial the moral mix of archive footage, interviews and the minimum amount of drama. Nonetheless in terms of true tell, both the docu-dramas and the conventional documentaries are suited.
The following are the contents of the boxed set:
1) “The Nazis: A Warning From History.” (1997, 6 Episodes, 290mins, 4:3 Fullscreen, 2 Discs)
- On the reasons gradual the rise and plunge of the Nazis
2) “The Road To War.” (1989, 4 Episodes, 195mins, 4:3 Fullscreen, 1 Disc)
- On how Britain, Italy, Japan and the USA entered the war
3) “Dunkirk.” (2004, 3 Episodes, 176mins, 16:9 Anamorphic, 1 Disc)
- On the evacuation from Dunkirk (Drama)
4) “War of the Century.” (1999, 4 Episodes, 190mins, 4:3 Fullscreen, 1 Disc)
- On the Russo-German war
5) “Battle Of the Atlantic.” (2002, 3 Episodes, 146mins, 16:9 Anamorphic, 1 Disc)
- On the U-boats and the Atlantic convoys
6) “Horrors Of The East.” (2000, 2 Episodes, 98mins, 4:3 Fullscreen, 1 Disc)
- On the Japanese Army and the Asia-Pacific war - Supplements on the Indian Army and the Burma War
7) “Battlefields.” (2001, 4 Episodes, 194mins, 16:9 Anamorphic, 1 Disc)
- On El Alamein, Monte Cassino, Arnhem and RAF Bomber Direct (the firebombing of German cities)
“D-Day: Reflections of Courage.” (2004, 2 Episodes, 90mins, 16:9 Anamorphic, 1 Disc)
- On the events surrounding D-Day (Docu-drama)
9) “D-Day To Berlin.” (2004, 3 Episodes, 150mins, 16:9 Anamorphic, 1 Disc)
- On the breakout from Normandy, Ops Market Garden, the Battle of the Bulge and the German surrender (Docu-drama)
10) “Auschwitz: Inside the Nazi Location.” (2005, 6 Episodes, 300mins, 16:9 Anamorphic, 2 Discs)
- On the Nazis’ conceptualisation and implementation of the Final Solution (Docu-drama)
Picture quality is very gracious even in the earliest of the series dating from 1989. The five most unusual series all advance in 16:9 widescreen with anamorphic enhancement. All in all, the 10 series presented here are well-behaved. Whether you rep them separately or together depends on how many of the individual series interest you and also whether you recall to the novel docu-drama format that has been the rage with the BBC in original years. Personally, given a choice of buying them separately, I would avoid “Dunkirk” and “D-Day: Reflections of Courage”. But that’s a purely personal preference based on my abominate of dramatization in documentaries. A major consideration for getting the boxed station is its label. If you intend buying 6 or more of the individual documentaries, it would design sense getting the boxed status, as it is some $80 less than getting the series separately ($149 vs $229) .
This is NOT a history of WWII. Rather, a skillful compilation of BBC documentaries about WWII released over the past few years, of varied relevance and inconsistent quality, which internal redundancies point to not to have been originally designed to hang together as a whole. In addition, the military perspective is almost exclusively British (at times tendentiously so), hence narrow to a point perilously halt to offensive neglect. If one is looking for a DVD overview of WWII, go to “The World at War,” amazingly remaining the primer after all these years, even if its relative disregard of the Eastern European front, though emblematic of its time, remains problematic.
Nonetheless, having raised appropriate general caveats, there is noteworthy that is racy and well executed in this pretty package. Taking each documentary in turn,
The Nazis - A Warning from History: Together with the final documentary on Auschwitz, the best the space has to offer. The exposition is positive and as thorough as one can question from the medium. The footage is well rendered, a notable lot of it modern to me.
The Road to War: Episodes detailing the political background leading to the War in Britain, Italy, Japan and the USA. All of it is quite favorable, but the one glaring omission is France. Considering that in 1939 France’s was the most noteworthy Allied army (Britain’s strength was its lickety-split), the lickety-split descend of France was not only a anguish but a puzzle, Vichy’s initiative of “collaboration” a disgrace. Both can only be understood in context with France’s internicine pre-war politics, the most conflicted of European democracies, an conception of which is notable to an appreciation of Nazi Germany’s initial diplomatic and military successes. This omission is a serious flaw.
Dunkirk: This retreat and rescue gets a plump DVD. It relies heavily on play-acting, docu-drama type film, depicting leaders and grunts, which in neither case is moving nor convincing. The May 1940 cabinet plight in London is played out as drama with actors portraying Churchill, Halifax, Chamberlain et al. It sinks lower from docu- to melo- with scenes portraying “Everyman” Brits protecting the rear or fleeing Germans, even being massacred. This is truly history not only “lite” but ludicrous and dumb.
War of the Century: Hitler’s attack on and eventual rout by the Soviets. Probably as worthy or more than we find elsewhere about the war in the East. Kursk, the largest tank battle ever fought, at around 4 million men one of the most considerable engagements of the war, and, arguably, the beginning of the raze for Hitler, is not analyzed, indeed perhaps not even mentioned.
Horror in the East: Mostly centers on Japan’s actions in mainland Asia and its impact on British troops there. The American island war in the Pacific takes a serve seat, though Okinawa is covered. Midway is not mentioned though it terminated Japan as a naval power. The emphasis is not on the war’s progress but on Japanese cruelty. Some of this DVD is redundant with prior analysis of Japan.
Battlefields: Provides analysis of El Alamein, Casino, Arnhem (remember “A Bridge Too Far”? ) and the Allied bomber offensive. Mostly gripping though Arnhem analysis engages in wishful “what-if” thinking of what proved to be an ill-conceived, botched operation which soiled Montgomery’s glory earned so splendidly at El Alamein. As for the bomber offensive over Germany, USAF participation is hardly covered.
D-Day: well done, though it also relies a lot on “docu-drama” as if one hadn’t seen distinguished better stuff at the movies. It’s critical to imprint that the largest national contingents of troops who carried out Operation Neptune, the initial Normandy landings of Operation Overlord, were British and Canadian. The British slant of this episode is welcomed.
D-Day to Berlin: rushes the war in Europe to a conclusion, spending an inordinate amount of time on Montgomery’s squabbles with Eisenhower (history showed Ike to be invariably just, though one wouldn’t guess it from the rather tendentious narration) .
Auschwitz - Inside the Nazi State: 2 apt DVD’s, with masterful narration by Linda Hunt. Unbeknownst to us at the time, the good epicenter of the reply as to why we fought. This documentary explains all aspects of Auschwitz, just, political, mechanical, indeed technocratic.
The documentaries encourage from participation by surviving participants on all sides of the conflict.
Thus this is indeed a mixed bag of a collection. Documentaries supplement but do not substitute kindly books, and perhaps no single volume WWII history is more thorough, better structured, more balanced, and readable than “A World at Arms” by Gerhard Weinberg. For documentaries, first choice, as mentioned above, remains “A World at War.” For docu-dramas, indeed perhaps the greatest “war movie” ever made, I suggest “Band of Brothers.” This BBC compilation is worthwhile for some of its components; in no blueprint is the whole greater than the sum of its parts.
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Harold and Maude Movie Streaming.
Product: Harold and Maude
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The editor’s review of this film is a delicate enough description of the situation. One should add that, despite being made in 1971, the movie manages not to discover dated, precisely because it makes such fun of the early 70s style, and that the acting by the three main characters (Harold, Maude and Harold’s mother) is simply inspired. Ruth Gordon is pleasing of course, while Bud Cort gives a lifetime performance, but it is the portrayal of Harold’s mother by Vivian Pickles (what a sparkling name for someone in the role) that has to be the most undercelebrated aspect of this film. Her breezy blitheness, outraged exasperation, and British sensibility are all fair too fantastic. Filling out a dating questionnaire for her son, in response to the quiz “Do you secure the belief of wife-swapping offensive” she answers, “I procure the put a question to offensive.” In response to the query, “Do you feel the women’s liberation movement has gone too far,” she replies, “It cer-tain-ly has.” Even “Harold, eat your beets” is delivered so wonderfully that it’s memorable. Eric Christmas also makes the bit-part of a priest into something memorable, principally by one glorious monologue.
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NOTE: It’s been pointed out that a lot of the region is given away in the following. It’s hard to say how powerful spoilers actually spoil this movie; spoilers may back to get the movie’s wisdom more readily apparent on a first viewing. In any case, there are several ahead.
But is this really a dark comedy? Personally, I reflect of dark comedies as being morbid and mordant, which Harold & Maude certainly has elements of, but also ultimately cynical. One should not mistake grimness in a film as a trace of nihilism; as the Japanese proverb runs, the ending is all-important. The film ultimately is not about an intergenerational like affair (surely the most “unsightly” aspect of the film), but about Harold learning to embrace life. And it is precisely to build as effective as possible Harold’s decision to live life to the fullest (rather than continue to steal to be plain) that it is first notable to produce his life dismal.
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As insanely funny as mighty of the movie is, it is also bulky of profundity after profundity from Maude, who is a nearly continuous font of wisdom, with laughter and humor being simply the most crucial values in her wisdom. When she asks Harold what he does for fun, he takes her to a picnic in a wrecking yard. She replies, “I’ll grant you, it has a sure something. But is it enough? ” When Harold declines her offer of wine, she replies, “Oh go on, it’s organic.” And most splendid of all, when Harold says, “I don’t want you to die, Maude. I like you,” she replies with perfect calmness, “Harold, that’s fabulous. Now go out and treasure some more.” If you’ve been caught up in the salubrious spirit of this movie, the line will not seem like some breezy brush-off, but may instead bring tears to your eyes.
The scene of Harold’s worry after Maude’s death, intercutting quiet images of him waiting in a hospital room and driving recklessly around the Marin headlands in the Jaguar he has converted into a hearse while Cat Steven’s song, “Misfortune” plays, is very well-done and sets up the climax of the film beautifully. Cat Steven’s soundtrack throughout, in fact, is a handsome selection of songs, and certainly makes definite that, however morbid things might seem, this film is ultimately life-affirming in a very profound plan.
Having watched this movie many, many times and having yet to tire of it, it seems to me there is more to it than meets the peek. And not fair because, when Harold gives Maude an engraved birthday gift, she says, “This is the nicest gift anyone has given me in a long time,” and then throws it into the San Francisco Bay saying, “That draw, I’ll always know where it is.” And not objective because one eventually notices, in the briefest of passing shots, the tattoo of a concentration camp inmate on Maude’s arm. In the final analysis, it seems to me that Harold is actually already humdrum. That his theatrical suicides aren’t faked at all, but also don’t succeed because he himself is not aware that he’s actually lifeless. It’s probably more right to say that the director pushes the record to the point where Harold seems to be actually stupid and not unbiased faking, precisely to manufacture his choice of life at the destroy all the more lively.
And entertaining it is. Harold & Maude is not (alas) for everyone. A viewer who is hidebound like the movie’s priest, colonel or mother (read church, site, authority) will gain Maude’s sometimes gentle, sometimes brash mocking of convention more annoying than enlightening, fair as the (not depicted) sexual relationship between Harold and Maude is the thing many people who miss the point remember about the movie. To this, Maude might say, as she does to a police officer, “Don’t be officious. You’re not yourself when you’re officious. That’s the curse of a government job.” Or as she says, when the priest replies that he didn’t like the arrangement she’d painted his statue of the Virgin Mary, “Give it time. It’ll grow on you. Some things purchase a while to luxuriate in.”
I had heard about this movie through friends but was never impressed by the legend. A reclusive anti social kid who befriends and falls in care for with an elderly (though young at heart) eccentric. I wrote it off completely til I saw a bit of it on television and idea it was hilarious and as it turns out I rented the movie and was extremely twisted. Harold is a rich kid with a high strung, selfish mother who tries anything to catch a suitor for him, in turn Harold escapes from his home to overshadow funeral processions and memorials. At a number of these events, Maude is in attendence and she lights up the scene with her off the wall,and positively upbeat personality that horrifies and amuses Harold. After a while they become unlikely friends. Maude helps Harold live a shrimp and in turn he develops proper affection to Maude. With Ruth Gordon’s charm and improbable acting abilites, and Cat Steven’s classy soundtrack, its not hard to come by yourself feeling tickled and free after the movie is over. It really teaches you a message about being your possess person and enjoying life.
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Robert De Niro is Rodrigo Mendoza, a wealthy adventurer who makes a fortune as a mid-eighteenth-century slave trader, capturing Guarani Indians in Paraguay and selling them for a enormous profit to the local governor. Mendoza’s life takes a turn for the worse, however, when he learns that the woman he loves, Carlotta (Cherie Lunghi), has fallen in care for with his younger brother, Felipe (Aidan Quinn) . And when he discovers them in bed together, he loses control and kills his brother in a swordfight. Afterwards, however, Mendoza is consumed with coarse guilt and he becomes a Jesuit postulant after meeting Father Gabriel (Jeremy Irons) . But Father Gabriel, who has always cared for the natives and resented the slave traders, is at first unsure if Mendoza’s desire to do penance and accomplish redemption is proper. Mendoza fianlly completes his penance after suffering many hardships, and he helps Gabriel speak the Indians about Christianity. As the years pass, Mendoza and Gabriel become stop if somewhat wary companions, running the isolated mission above Iguacu Falls together while allowing each other plenty of personal set.
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Everything changes, though, when in 1750 Spain and Portugal imprint the Treaty of Madrid, which redefines their territorial borders in the Americas. The demolish result of the treaty is that Spain (which has forsaken slavery) delivers the Indian land to Portugal (where slavery remains good) . To avoid the Jesuit order being expulled from Portugal, all Jesuit missions in South America are ordered closed by the Pope, which means the Indians living there will be abandoned to the slave traders. The Guarani Indians are certain to discontinue and fight for the mission they’ve reach to treasure, and this deeply troubles Mendoza. Despite his Jesuit voice of practicing nonviolence, he knows that with his past fighting skills as a mercenary he’s the only one who can sigh the Guaranis to defend themselves. Gabriel also stays, but for a different reason. The destroy result of the inevitable battle is predictable but nevertheless is devastating to observe.
“The Mission” is without a doubt one of the most breathtaking masterpieces I’ve ever seen. It is simply heavenly, both in a visual and spiritual contrivance that few films can enact. Robert De Niro, although boldy cast against type, gave one of his finest performances and certainly deserved an oscar. Jeremy Irons was also outstanding, and the supporting cast (including Aidan Quinn and Liam Neeson) was astounding. The scenery was astounding, as was the cinematography. And who can forget the dazzling music by one of the greatest composers of all time, Ennio Morricone? In short, to call this one of the greatest movies of all time is an understatement. The dvd has an awesome characterize and sound quality that even improve the viewing experience, and the in-depth making-of documentary was very informative and consuming. If you savor watching movies at all, then do yourself a favor and add this appreciate to your collection!
This is intelligent cinema adventure of priests taking Kingdom of God to a native population yet untouched by advancing culture and technology.
DeNiro is remarkable in role of changed mercenary/slavetrader who jumps sides, while Irons is impartial honorable in role of spiritual giant with magic oboe who leads this people against all odds only to be overran — or were they?
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The storyline develops slowly yet beautifully in this glowing landscape of South America. What makes it all one arresting drama is a expansive soundtrack by Ennio Morricone.
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Watch National Geographic: Darwin’s Secret Notebooks.
Product: National Geographic: Darwin’s Secret Notebooks
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I struggle with two trends while watching this. When I was in high school, photosynthesis, the trot of androgens, etc., were far more difficult to understand than evolution. It was hard to scrutinize a documentary that spent 50 minutes on something I could define in one. However, I remember a history professor saying, “Many people deliver historians, ‘Why can’t you unprejudiced write Person X wrote Y!? ” and the historians’ response is ‘I’m trying to construct the conditions under which Person X could write Y!” This work illustrates how Darwin came up with evolution.
By discussing facts, this work may interest those who like history but don’t care for science. There were two Darwin impersonators here, but they are ragged sparsely and tastefully. The work never mentions that Darwin married his cousin.
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In fairness, the work does give useful details. The work says Darwin did not fair peek at finches. He compared aquatic life to the land-based kind. He compared fossils to living animals. He did not publish at the topple of a dime; he took his time shimmering that his ideas would upset many. He points out how the biblical understanding that Earth is objective a few thousand years feeble is erroneous. In college, many students will learn that Michel Foucault did not write one revolutionary notion, but many. Here too, Darwin’s ideas have many facets and he’s not a one-hit wonder.
The work never mentions the term “social Darwinism.” However, his work did not stick to non-humans; he did pull ideas from his contemporary Britain. This work would be an favorable item to present in high school or junior high science courses. Quiet, the animated students may bore easily.
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I had heard about Shaolin Soccer (2001) a couple of years ago from a friend, as he had recommended it to me, sparkling the particular intention some of my tastes ran, and I am delighted he did, as it’s a heady mix of the wacky, the absurd, and the honest unimaginative fun. The movie starts off with a flashback, showing an extremely celebrated Chinese soccer player named Golden Leg Fung accepting money to throw a game from a lackey, and the consequences of his actions, including a severely crippling beating by the crowd after purposely missing a rather easy goal scoring opportunity. Now, it’s many years later, and Fung now works for the gangster organization that had originally paid him off, in a completely demeaning status. He dreams of coaching, but the once lackey who owns the modern champion soccer team and is also chairman of the league, finds this plan completely funny, and heap further degradations upon Fung. Despondent, Fung ends up meeting a vagabond/shaolin follower called Steel Leg, and formulates a belief to make a fresh soccer team around this exceptional martial artist. Fung also finds out Steel Leg has enough brothers, all once trained in martial arts, to originate up a team. Each brother has their enjoy, recent ability, and soon they start to practice. During their first practice, the men suffer a fairly brutal beating (this whole harm, beating, and humiliation factor seems to be a constant theme throughout), but soon regain their shaolin training coming succor to them, and turn the tables on their opponents. They enter the tournament, sweeping through the ranks, until finally the meet with the recent champions, the Improper Team (I’m not kidding, that’s their name), and meet the ultimate challenge, as the chairman gives his team a decidedly unfair advantage. Will the shaolin players be victorious, or will they suffer the crushing defeat at the hands of the chairman and his obnoxious team?
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The special effects here are truly extraordinary and inventive, making for the most insane soccer playing I’ve ever seen. Imagine someone being able to kick a soccer ball with the same force of shooting it out of a cannon, and with pinpoint accuracy. There is not really a lot of trusty soccer playing, in the old sense, as with the abilities of the players, the ball mainly zooms around in a very cartoonish manner. Mixing kung fu and soccer is certainly and enthralling belief, and provides some really spectacular visuals. The English captioning is really poor, but certainly gave me grand to laugh about, along with the seriously unusual overacting.
Special features include an option to ogle the film with the deleted scenes, the deleted scenes by themselves, a trailer, biographies, a featurette on the making of the film, a photo gallery, and gradual the scenes featurette on how the special effects were made. All in all, Shaolin Soccer is an unsane, over the top comedy steeped in snide action and definitely worth a explore if you care to expand your horizons.
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I was first introduced to this movie when my girlfriend demanded that we spy it. I’ve never been a fan of martial arts movies, so I was extremely iffy about it. I also am not a fan of subtitles, so this movie was in the trash as far as I was concerned, but being the advantageous boyfriend I am, I decided I could tough through a two hour movie and maybe earn a couple of z’s while I was at it. But after the movie started, my concept almost immedietely changed.
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From the opening scene this movie grabs you and doesn’t let go. It is easily one of the funniest movies I’ve ever seen. It is creative and the effects aren’t as cheesy as you might judge. I sat with my jaw dropped for two hours, thinking to myself “How many other movies have I blown off that might be colossal? “
I can’t wait for the theatrical release where it will be dubbed in English. I hope they approach out with a DVD with an English dub too.
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Leave it to John Boorman to combine the stylized storytelling of French Current Wave with American film noir in “Point Blank”. This consuming, titillating movie was made in 1967 when the film world was in the embrace of experimental film. Although it’s quite different from “Blow Up”, the storytelling style is unbiased as stylized and unusual. Lee Marvin plays Walker a criminal cheated out of $93,000 from a robbery of a mob like syndicate on Alcatraz by his best friend Reese(John Vernon) . Participating in the heist/murder is Walker’s young wife who has been having an affair with Reese. After getting the money, Reese shoots his friend, takes his wife and leaves him for wearisome on Alcatraz.
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With the abet of a mysterious benefactor (Keenan Wynn), Walker tracks down Reese exacting revenge in pursuit for what he’s owed. When his wife commits suicide, Walker seeks out her sister Chris (Angie Dickinson) in hope of luring Reese out of hiding. From there this convoluted mystery spins more threads than director John Boorman knows what to do with but, surprisingly, he keeps the anecdote from getting too tangled up.
Boorman and director Steven Soderbergh (”Ocean’s 11″, “Solaris”, “Sex Lies and Videotape”) provide a spirited commentary track on the making of the movie. Boorman recalls that originally Lee Marvin wanted Peggy Lee for the role that Dickinson plays. While he went with Boorman’s decision of Dickinson he wasn’t very nice to his co-star which worked particularly during the scene where Dickinson starts hitting Marvin. Dickinson hit Marvin so hard he had bruises the next day but the actor stoically took the hits and the camera kept rolling. Boorman also discusses the stylized near he uses in shooting the film including a sequence in Walker’s deceased wife’s apartment that where the body disappears in an almost dream like sequence, the furniture disappears and Marvin’s clothes change. The studio was so concerned when it saw the first lop of this sequence it hired a psychologist to near talk to the director.
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Featuring a lovely transfer from Warner Home Video and a nearly perfect designate recent print of the film, “Point Blank” looks keen with colorful colors. The mono soundtrack with some of its current sound effects (the sound of Walker’s feet providing a percussive element to one sequence in particularly) also sounds remarkably certain. There’s also a two share promo featurette “The Rock” which focuses on the shooting of the movie on Alcatraz (it was the first movie shot there since the prison closed in 1963 and had been turned into a station park) . Using San Francisco, Santa Monica and Los Angeles as a backdrop, the film features fine cinematography. If Don Siegel had watched the French Novel Wave prior to making some of his noir laced thrillers, this is what it might have looked like.
Remade with Mel Gibson as a more extinct looking thriller called “Payback”, “Point Blank” features Marvin in one of his most stoic, mighty and grim performances. His character of Walker leaves a high-tail of wearisome bodies without remorse or regret in pursuit of what is rightfully his. Unlike a lot of films that incorporated the surreal touch of the French Fresh Wave (such as Truffaut’s “Shoot the Piano Player” or any of Goddard’s films), “Point Blank” has used remarkably well with Boorman’s stylized spend of sets, camera spot ups, flasbacks, etc. suggesting what’s really going on inside of Walker’s head. There’s also a suggestion that maybe Walker didn’t survive (particularly during the last sequence) and that “Point Blank” represents the dying delusion of a man thirsting for revenge. A great film filled with many, many levels, this classic thriller does not have a straight forward story so if you’re expecting a realistic film noir or tale, you should recognize elsewhere.
This review is for the Warner Brothers DVD released in 2005.
`Point Blank’ starts out in an abandoned Alcatraz Prison circa 1967 where Walker (Lee Marvin), his wife, and Mal Reese (John Vernon - probably best remembered as Dean Wormer in `Animal House’) lift an apparently illegal money payoff. Once the money is counted, Reese shoots Walker in a prison cell leaving him for dull and takes Walker’s $93,000. Walker recovers from the shooting and with the succor of a stranger named Yost (Keenan Wynn), Walker finds out that Reese and Walker’s wife ran off to Los Angeles and Reese is now a large player in a major crime syndicate. This sets up the rest of the movie where Walker hunts down Reese but also wants all of this $93,000 help.
The movie is clearly unlit in mood and substance, even though it was filmed in vibrant color. Angie Dickenson plays the role of Walker’s sister-in-law Chris, who helps him collect Reese. The chemistry between Chris and Walker seems overtly empty and sad. An involving Carroll O’Conner (best known for playing Archie Bunker in ‘All in the Family’) brings a lot of energy to the last segment of the movie. The film has an unmistakably unhurried `60’s glimpse with rapidly and chaotic flashbacks and over-accentuated sound effects - such as loud, reverberating footsteps when an intensely focused Lee Marvin is hunting down Reese. This movie is more sexual and violent than noir films of the `40’s and `50’s, but is smooth restrained by today’s standards. The film’s biggest asset is how Lee Marvin confronts and handles his adversaries - each spot is modern and effective, but not over the top. The area as a whole has very few major surprises, although there is one minor twist in the slay. Overall, it’s an extremely obliging movie, but not a colossal one, but I unexcited strongly recommend it.
As for the DVD, the transfer is grand. The represent quality is free of even the tiniest of flaws and the color is shining and radiant and the sharpness is terrific for a film this frail. The audio is also worthy. There is option real-time commentary by director John Boorman and filmmaker Steven Soderbergh, plus two short features, both made when the film was being shot in the tedious `60’s entitled the Rock Piece I &II. These two documentaries deal with the filming of the scenes on Alcatraz that were weak in `Point Blank’. Piece II also contains a short interview with a broken-down prisoner who did time on “The Rock”..
Movie: B+
DVD Quality: A+
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Tagged: Download Point Blank Online, Point Blank, Point Blank Streaming, Stream Point Blank, Watch Point Blank Online February 26, 2010
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This is not a review of the movie, but a criticism of the MGM DVD release. The Pride and the Passion DVD as first released is a pressing using frail unrestored film stock, complete with scratches, dust marks, overall magenta color, dreadful film and sound track registration. This movie deserves a complete restoration to it’s fresh condition. If you haven’t seen the movie, recall it. If you’re a film collector, be happy with a VHS tape as this DVD is no improvement.
A remarkable maligned film that peaceful manages to really effect for one major reason — it is a legal SPECTACLE, with that frightful CANNON dominating every scene, whether it is actually onscreen or not!
Made during the decade of estimable outmoded, unprejudiced film epics, The Pride and the Passion manages to transcend its certain flaws. It’s astounding to view this mammoth gun pushed and pulled by hundreds of Spanish freedom fighters across the steady terrain where the epic takes set. The film is structured around several very impressive action sequences: 1.) the initial destruction and the raising of the gun 2.) the near-disaster of floating the gun on the river 3.) the attack on the French camp, complete with roaring fire-balls rolling down the hills 4.) the destruction of the French pontoon bridge 5.) the treacherous mountain pass 6.) the grueling ascent/descent over the mountain, with those astounding shots of the cannon “on-the-loose”, shearing off trees as it zooms downhill (!) 7.) the Holy week procession (with the cannon disguised as a stout religious float, 8.) the final battle at Avila, as the gun is outmoded to blow apart the city’s walls.
In between, we are treated to the Frank’s substantial impassioned speech in the bullring, the knife fight where the bullying Jose Nieto and Cary Grant mix it up under the windmills, and lots of heated verbal exchanges between Frank and Cary (fueled, of course by their mutual “hots” for Sophia Loren, who always manages to detached things over) .
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The script has its problems, but it composed manages to drawl the nearly fanatical dedication of the Spanish fighters, keenly contrasted with the technical, unbiased expertise of the British military officer (Grant) . When Cary finally steps forward to admonish the Bishop for his refusal to allow the desperate Spaniards to repair the cannon inside of the cathedral, we gaze that “frosty” Cary actually has been swept up by the emotions of the Spaniard’s cause, as he so eloquently pleads on their behalf.
And the script does acquire one REALLY Icy line, as the cruel, jaded French General (Theodore Bikel), unprejudiced before the colossal final battle, asks his aide why the Spaniards seem so INTENT on dying, on “soaking the land with their blood”…..and the aide calmly replies: “perhaps because it is THEIR land…….”
And the MUSIC by the original, eccentric George Antheil, the “Awful Boy of Music” as he was called (try to locate a copy of his 1945 autobiography of the same name…what a nut!) . Antheil seemed indeed to have found his moral calling writing in a flashy, grandly-romantic, visceral Spanish idiom. The hauntingly splendid “Juana’s Prayer” as she prays in the cathedral and lights candles, and the following Holy week Processional, one of the accurate glories of all film music (which owes more than a puny to the “bell-tolling” music of Mussorgsky’s “Boris Goudonov”) are but two of the highlights.
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Yeah, Frank seems hopelessly miscast, even though he does a very convincing job of underplaying his role (he HATED making the film, as he was desperate to win support to Hollywood and wallow in misery over Ava Gardner) . Question: if we DIDN’T KNOW ANYTHING ABOUT FRANK SINATRA outside of this film, what would we deem of his performance? The plight is that we DO know everything about Frank’s life and career, and it was a mistake for Kramer to cast him for that very reason. I’ve never understood why many people don’t like Cary Grant in the film; he seems to be exactly what’s needed in the role. And Sophia Loren does her best with a very predictable role.
But it’s the sense of overhwelming grandeur — the instinctive need of the human spirit to defy tyranny and fight to the bitter end—symbolized by the film’s Tale SCALE — the masses of humanity, travelling across the graceful, foreboding terrain…and that massive, monolithic CANNON, representing the last hope of the Spanish people in their doughty struggle against Napoleon—all carried along by the blazing music of Mr Antheil….that makes this film, despite all of its flaws, a truly memorable cinematic experience.
PS. In incompatibility to one of the other reviewers, I pick up the visual and audio quality of the DVD release very pretty, with the exception of a dinky speck that shows up occasionally on the honest side of the camouflage. Overall volume could have been boosted a bit; otherwise- expedient.
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Tagged: Download The Pride and the Passion Online, Stream The Pride and the Passion, The Pride and the Passion, The Pride and the Passion Streaming, Watch The Pride and the Passion Online February 24, 2010
Before Matt Groening and pals introduced us to “The Simpsons,” Joseph Barbera and William Hannah produced a puny expose called “The Flintstones.” Season “1″ was first aired on ABC during 1960 and has been syndicated in perpetuity throughout the known universe ever since.
Episode Guide:
(Cover Test) The Flagstones: Admittedly, I’ve never seen the camouflage test (discovered in 1993) and cannot even vouch for it’s inclusion in the DVD set-one can only hope.
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(1) The Flintstone Flyer: Barney invents a flying machine (the Barney Copter) which he later loses to his over-bearing best friend. The duo uses the machine to ditch their wives and go bowling, thus setting the stage for years of adventures.
(2) Hot Lips Hannigan: Fred relives his glory days as a singer in his high school band as he jams with an worn pal.
(3) The Swimming Pool: Fred and Barney fabricate a pool spanning across their backyards…a hilarious power struggle ensues.
(4) No Assist Wanted: Having cost his friend his job, Fred finds Barney a unusual job as a repo man. Enter Dino.
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(5) The Split Personality: Following a blow to the noggin’ Fred becomes his more refined alter, Frederick.
(6) The Monster from the Tar Pits: Gary Granite is filming in Bedrock and lucky Fred finds a share in the film…, as his stunt double.
(7) The Babysitters: Fred and Barney shirk their responsibilities and bring a baby to a friends house to seek the enormous fight. BYOB?
(8) At the Races: Fred and Barney rely on gambling for a quick-fix solution. Do you believe they derive?
(9) The Engagement Ring: Barney purchases a ring for Betty but Wilma discovers the ring and assumes it was for her… Instead of spending five minutes explaining the plot, Barney decides to enter a boxing contest with The Champ.
(10) Hollyrock, Here I Come: The girls near up with a winning slogan and a stride to Hollyrock. Lost without their better halves, Fred and Barney aren’t far unhurried.
(11) The Golf Champion: Fred demonstrates his prowess at golf, earning a trophy. Barney, however, pesters his buddy as Fred neglected to pay his membership dues.
(12) The Sweepstakes Ticket: Both the guys and gals win lottery tickets unbeknown to their spouses. As they forever remain strapped for cash, I consider you know how this one ends.
(13) The Drive-In: Fred and Barney secretly conclude their jobs to fulfill a short-lived dream of business ownership. The gig is up when one of their glorious employees pays a visit to the Flintstone state.
(14) The Prowler: Apprehensive by a neighborhood prowler, Betty and Wilma choose to steal Judo lessons, despite Fred’s objections.
At this writing, I couldn’t sing you about the extra’s included in this volume. However, as I select, The Flintstones’ 3rd season (1962-63) is perhaps their most transitional, as Fred (Alan Reed) and Wilma (Jean Vanderpyl) give birth to a limited cavegirl named Pebbles (also voiced by Vanderpyl, she would acquire her debut towards the demolish of season 3 in Dress Rehearsal (aka The Blessed Event), at the kill of the show; her 1st words are “Abba dabba goo goo!”) . Many of the cartoons featured Wilma expecting, with the announcement of Wilma’s pregnancy at the raze of one particular episode appropriately entitled The Surprise (ironically, this episode had more to deal with Barney’s nephew Marblehead, whom Fred grows to fancy, though he won’t admit it! Listen for Marblehead’s imitation of Uncle Barney’s hiccupy laugh) . Barney (Mel Blanc) and Betty (Bea Benederet) are the godparents. Also, the familiar theme “Meet the Flintstones” also makes it superior debut in this season (it was featured in background music in Seasons 1 and 2) .
Highlights include a performance by Rock Roll, who looks and sings a limited like Elvis (”There’s a town I know where the hipsters go called Bedrock, twitch, twitch!”), Wilma and Betty enter a Rock Toasties contest and get a trot to Hawaii (Wilma saves Fred’s life by punching out a ferocious dinosaur chasing him, “Beat it, buster!”), Barney plans a surprise birthday party for Fred and spends most of the episode trying to glean a like a flash asleep Fred home to the party, Fred takes ballet lessons to improve his bowling, Barney saves a baby but Fred unintentionally takes the credit, Fred goes attend to high school for his diploma in order to avoid termination from Mr. Slate and becomes a football hero (”Flintstone! Flintstone! Rah, rah, rah!”), Wilma rents the house to 3 Swedish musicians (”Duh, he is Olie, I am Schven!”), Barney becomes invisible thanks to one of Fred’s wacky inventions, Fred tries hard to gather along with his inferior mother-in-law during a visit (”I fancy my mudderinlaw!” he reminds himself, but gets his revenge by taking her on a long taxiride in disguise), Fred hires an Italian maid named Lolabrickida (who is an fine cook and a lot nicer than Grandma Dynamite and the bossy nurse hired after Pebbles’ birth, but has zero tolerance for poor singing!), Fred and Barney go skiing in the mountains and unwittingly prevent a jewelheist (”Psst! Slalom, Shorty, SLALOM!”), Barney reluctantly agrees to masquerade at Runt Tex to heed Fred’s rich Uncle Tex (voiced by Hal Smith, “Wahoooooo!”), Arnold the Paperboy cons Fred into paying more and later Wilma insists Fred gaze a quacky doctor and for Wilma’s birthday, Fred buys her a dodo bird named Doosey, who snitches to Wilma and Betty about the boys’ plans to go to a Water Buffalo convention in Frantic City without them (”Hiss! Frantic City, Frantic City, yelp, whistle!”) . Also, Barney tricks Fred into thinking Pebbles can talk (”Do thum backfwips for me, Daddy, or I’ll cwyyyy!”) and the Flintstones recede out of their humble abode to be reach a crowd of rich snobs (”Everybody into the pyool!”) .
If you liked Seasons 1 and 2, effect your money for this one! That’ll be 2 rocks, please!
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Tagged: Download The Flintstones - The Complete First Season On, Stream The Flintstones - The Complete First Season, The Flintstones - The Complete First Season, The Flintstones - The Complete First Season Streaming, Watch The Flintstones - The Complete First Season Onlin February 22, 2010
ADV Films has done it again by bringing us yet another lost care for… YOKAI MONSTERS: SPOOK WARFARE (A.K.A. GHOSTS ON PARADE)! Although Daiei’s Gamera films got to be cheesy by this time, SPOOK WARFARE gives us chills and thrills!
The demon Daimon is awakened after a four thousand year hibernation by adore hunters in Babylonia and heads to Japan to begin a campaign of world domination. “Wonderful monsters” are summoned and team up to discontinuance Daimon once and for all.
The overall entertainment value of SPOOK WARFARE is pleasant… You will not leer naked babes screaming their heads off, but you will examine a suited amount blood and an abundance of monsters unlike anything you have ever seen! There are also scenes in which Daimon looks like a guy in a rubber monster suit, but the scenes in which he is stalking his victims in atmospheric lighting are really effective… At that point, Daimon looks absolutely unsightly! The rousing music secure really adds to the film: Chilling apprehension music! The special effects are mixed in quality, but for the most allotment are beneficial! (The scenes absorbing the itsy-bitsy work at the beginning and the snake woman throughout the movie are flawless!) The monsters that confront Daimon range from cheesy to scary, but are quite unusual.
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The DVD… Sharpness and inequity of characterize is agreeable. The sound is a bit distorted at times when the music reaches its peak, but mild edifying. The special features include previews for other films of this trilogy, YOKAI MONSTERS: 100 MONSTERS and YOKAI MONSTERS: ALONG WITH GHOSTS (which are unreleased on DVD as of this writing) as well as the more new GAMERA films, the DAIMAJIN (MAJIN) trilogy and the Godzilla sage Extinguish ALL MONSTERS.
ADV has brough us another sizable DVD package. Unlike Toho, Daiei is more liberal about the international market. Thank you ADV and Daiei!!! 
These older fantasy Japanese films are terrific, and not necessarily in the ways that most people reflect. Imagine this scenario–North Pacific natives, with their Shamans and animism and such–find themselves on a tall island where inherent limits of growth and scarce resources (and a few other things of course) promote the development of a fairly sophisticated culture with many roots straight into its tribal past. Then it hasty Westernizes within less than a half century and in such a blueprint that it does not ignore its traditions but instead incorporates them. With these myths and legends going proper succor, untouched, to its early tribal days, by the time it gets around to creating fantasy films they tend to judge a remarkable different historical consciousness than their Western equivalents. Around 1960 the West produced Jason and the Argonauts and Japan saw these Yokai movies featuring individuals portraying magical nature creatures and wearing costumes strikingly not far removed from those former in rituals in the Northwest Pacific and certainly elsewhere. To approximate this phenomenon, Westerners would have to reference roots going befriend to before civilization, neolithic almost, largely forgotten history for the mass consciousness. I’d argue that Japan might be the single most improbable nation on the planet.
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Anyway, that’s the plan to peek and delight in this film, and the others in the series. Hardly Sid and Marty Kroft territory and not exactly kiddie fare, these Yokai flicks are, in fact, striking studies in cultural anthropology. They also stand alone as beautifully crafted fantasies, rich in visual magic, and a righteous education in first class fantasy film art direction.
I deem a lot of people derive disappointed in these movies because they’re expecting something camp and cult-y and on that level they unprejudiced don’t command. Sadly, since the Seventies or so, a lot of stunning Japanese studio product from the Sixties and earlier has been unconscionably lumped in with Z-movies like “Teenagers from Outer Spot” or Mexican wrestler flicks. Hip and trendy people looking for cultural goofiness were attracted to them for this reason; this film is even distributed by a company called “Rubbersuit” and that aesthetic considerable sums up the attitude. This is poor, and I’d say it’s also disrespectful to works that clearly had a lot of talent and imagination poured into them. Many of these Japanese products have first-rate acting and first rate costumes (rubber suit aside–even the first “Alien” from that series was a rubber suit and anyway, those things aren’t easy to form or execute work!) . Stick any sci-fi or fantasy film made in the West from 1950 to 1975 (excepting Harryhausen’s work which is sui generis, peaceful underappreciated, and deserving of individual glimpse, and any vintage Mario Bava–the man who could compose $20 in props gawk artistic) against these remastered, subtitled, wide-screen Japanese films and you will be fearful. Many of these “camp” Japanese films are, at the least, better looking, more visually coherent, and far more magical. Study that the Japanese even integrated stock footage more artfully, taking time to even (gasp!) match up the dependable jet fighter type to its special effects miniature–something even the best American films didn’t bother to select time doing. [In an “equivalent” vintage American movie,”The Dark Scorpion,” (incredibly an O’Brian of King Kong fame flick) a boom smash features a steam locomotive whose tender clearly bears the story “Lionel Lines”!] All in all, this is expedient entertainment that needs to be appreciated on its bear terms. I’m happy to study them available on DVD. Check out similar offerings from Tokyo Shock and Rubbersuit’s other films, especially “Daimajin.”
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Emma is a wealthy and bored young woman in Regency England. She lives the obliging life in her rural manse, where she lives with her hypochondriac father, and she has objective successfully seen a match she’s made lead to the altar. Flushed with success, she is obvious to continue her role as Cupid, which leads to grief and comedy at every turn.
Director McGrath proves to have a qualified search for for exterior shots and comedic elements. The script is exquisite, the cast sterling, and Rachel Portman’s accumulate is faultless. The staunch pickle with this adaptation is dear Gwyneth. Paltrow is absolutely magnificent and charming as the heroine here, but she is not Emma as written by Jane Austen, and the discrepancy changes the memoir entirely. To glimpse this character played to perfection, you must peek her played by Kate Beckinsale. Before you click the “No” button, hear me out: stare both films’ version of the pivotal scene of the picnic on Boxer Hill, where Emma insults dreadful chatty Miss Bates. Austen’s Emma is radiant but thoughtless, excellent but as yet unkind, in the blueprint that young people can sometimes be. The important drama of Austen’s chronicle lies in Emma’s realization that she has been inaccurate about oh! so many things, in her growth as she internalizes that realization, and in her discovering like when she becomes wonderful of it. By incompatibility, Gwyneth Paltrow is perfect from the first scene. She exudes sophistication; she cannot benefit it. You never feel that she does not know what’s what and who’s who, and therefore she cannot build as Austen means her to. And that precludes her from playing Emma to perfection. That said, if you are a Paltrow fan, you will care for her in this charming film. She is effervescent. If, however, you are an Austen purist, then you MUST gawk the Beckinsale version instead.
Regardless of your conception of the film, you WILL be disappointed in this DVD. Apparently Miramax’s Harvey Weinstein has heard of neither bells nor whistles. Special features listed are: a theatrical trailer, subtitles in English and chapter selection. And that accurately sums it up. There’s really no excuse for such a trifling package.
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Now I’ve had my say and you, dear reader, may click away.
Being a die-hard Austen fan, I couldn’t resist watching this movie. Emma Woodhouse’s sage has always been my popular of
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Austen’s efforts, and I am always satisfied to contemplate her work brought to the conceal. I was VERY elated with this film.
Casting was well done. Northam provides a sturdy, but not overly-stern, Knightley, and Paltrow does an astounding job of convincing us that she is, indeed, British in her portrayal of Emma. Her accent is nearly flawless, and I felt that she truly captured the personality of Austen’s most gross heroine. The sets and lighting are luminous, airy, and perfectly favorable to the comedic advance taken by this particular director. The scenes are edited unprejudiced brilliantly. Each scene flows seamlessly from one to another, and the trail of the position runs along impartial perfectly. It moves mercurial enough to support everyone eager and slowly enough to compose obvious that everyone has enough time to bear what’s going on.
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The criticism I’ve heard most often is that the film really only touches on the Jane Fairfax/Frank Churchill subplot for the briefest of moments. I did not collect that to be disagreeable to the film. It’s dull, while watching this version, that the director wanted to maintain the legend light and comic. Adding Jane and Frank’s saga would have done two things: First, it would have seriously darkened and dramatized the bouncy and colorful atmosphere of the entire film. Second, it would have taken the spotlight off of Emma Woodhouse as the focus of the chronicle. I felt that, given the abbreviated length of time that a movie has in which to communicate a record…the omission of Frank & Jane’s affair was a wise choice.
The second criticism I’ve heard of the film is that it’s impartial too shipshape and “handsome” to be accurately representative of Regency England. Again…this didn’t bother me. The focus of this film is NOT to be fair to history. It is not a Regency documentary. It is a fun and aesthetically radiant depiction of Emma Woodhouse and her friends. It’s romantic, humorous, charming, and very very fair to glimpse at.
I loved it.
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Tagged: Download Emma Online, Emma, Emma Streaming, Stream Emma, Watch Emma Online February 17, 2010
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