Posts Tagged ‘actress’
Stream Manson 40 Years Later DVD Movie Online
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Stream Manson 40 Years Later DVD Movie Online.
Movie Title: Manson 40 Years Later DVD Manson 40 Years Later DVD is available for streaming or downloading. |
First let me region that I’m writing this review as someone who has seen this program on TV and the History Channel DVD release which is currently available for sale. I’ve followed this case for many years (I’m obsolete enough to remember when it actually happened.) I’ve seen many documentaries on this case and never seem to tire of them. If you are well informed on the details of the lifestyle of the’family’ and the events that led up to the Tate / Labianca murders this offers no unique information. The only inviting point I found in this is the interview with Linda Kasabian (who does not do many interviews) and her recollections of those days spent with the family.
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There are worthy and poor points to this DVD. First the helpful points- the production quality of this program is fine. The music and photography is well done and to my best recollection this is the only documentary (officially released) that contains the pictures of the trusty crime station, although in dusky and white.
The unpleasant points are in the recreation of the facts. Though Linda Kasabian accurately describes what she went through on those 2 nights of assassinate, the producers prove a very mistaken portrayal of the events. For example the house obsolete for the Tate house does not resemble it one bit. Even in the layout. There is no gate the killers avoid and climb around, and they reduce originate the cloak on a patio door! They shoot Steve Parent from the ghastly side of the car, and on and on it unbiased doesn’t match what has been written about for so many years. The house that they employ for the LaBianca house is also unsuitable and in this one there is a gate (they should’ve mature this for the Tate house.)
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You would deem that after all the concern was made to do such production values in this and finding and talking Linda Kasabian into participating in it, that they would of done a miniature more research using photographs and information that is readily available all over the internet to produce there re-creation search for more upright. But no. Things impartial seek horrible. For people familiar with the crime, the inaccuracies are countless.
That being said, the only other quandary is with the version on the DVD itself. It seems that this is the broadcast version that was worn by the History Channel. For example, there are spots that jump chop or dip to shadowy where the commercial breaks were, and the closing credits race at a high rate of bustle during the last scene in the lower left hand corner, a tactic feeble to slam the next program in before the viewer can gather away. No closing music at all. I bear this was shown overseas and a different version may exist.
All in all, as for a docu-drama this is unruffled an challenging thing to recognize, inaccuracies and all. The interviews encourage carry it through even though you’ve heard it all before.
Like the other reviewer of this DVD Documentary on the Manson murders I totally agree that while the production values were adequate and the interview with Linda Kasabian most riveting, the inacurracies are numerous and extinguish what could have been an respectable documentary of one of the most renowned cancel cases of the 20th century.
Although I was only 3 years primitive when the murders took state in August of 1969, I’ve read most of the books associated with the Tate-LaBianca murders – most especially “Helter Skelter”. Two made-for-TV movies, one released in 1976 and the other in 2004 are mighty more honest in re-creating the events leading up to the murders as well as the bewitch of the defendents and the subsequent trial.
The best thing about “Manson 40 Years Later” is clearly the interview with Linda Kasabian. Even though it’s been 40 years since these horrendous murders took state, her recollection of the events are obvious and insightful and it’s evident that she level-headed feels grand guilt, sadness and remorse for her peripheral involvement as the driver/look-out. There was a very spellbinding addition to her interview that didn’t appear in previous books, testimony or in any other movies or documentaries done on this case. I was surprised to learn that after the shooting of Steven Parent by Tex Watson, he instructed Linda Kasabian to go into the car and purchase the wallet out of the tedious man’s pocket.
Other than the interview and recollections of Linda Kasabian, the re-creation of the family members and the murders themselves are filled with many inaccurancies and oversights. First of all, most of the actors portraying the killers looked nothing like them. For instance, the actress portraying Patricia Krenwinkel had thin red hair while the actual Patricia Krenwinkel had long, thick brown hair.
As previously pointed out, the residences depicted as the Tate and LaBianca residences looked NOTHING like the accurate residences. The dramatizations of the murders themselves, while chilling as well as gory, were also displayed inaccurately.
I’m giving this DVD 3 stars for the interviews with Linda Kasabian, Catherine Portion and Vincent Bugliosi but it’s a shame that the producers did such shoddy work on the fact and dramatizations.
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Watch The King and I Movie Online
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Watch The King and I Movie Online.
Movie Title: The King and I The King and I is available for streaming or downloading. |
It’s finally here! The so-called definitive version of this heavenly classic has now been restored AGAIN from the surviving 55mm negative, and there is indeed cause for cheers. Yes, it is now finally anamorphic on DVD! And yes, it looks absolutely shapely! Better color, sharpness and disagreement than the feeble DVD issued in 1999 – and that one calm looks quite impressive thanks to THX, although sadly non-anamorphic. Even so, the recent one looks noble and has lots more bonus material!
But now a shadowy warning: If you gain the customary DVD and want this beauty of a film in its complete roadshow version – support it by all means! The current 50th Anniversary Edition lacks the Overture, the Intermission Music and the Exit Music!
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Incredible! And all that lush music was available on the 1999 DVD! What goes on in the heads of the people in charge at Fox? After the fiasco with the Todd-AO “Oklahoma!” recently, Fox should very well know by now that fans of these Rodgers & Hammerstein-films are not likely to come by rank and sloppy product. Here’s a loud and distinct boo aimed at Fox Home Video top brass from one fan! Pick Up yourselves original jobs outside the entertainment industry and leave the DVD-business to intelligent film lovers who are also responsible professionals!
Rodgers and Hammerstein’s THE KING AND I (1956) is a wonderous movie musical, an astounding adaption of the Broadway musical that premiered on stage in 1951 (and has been performed tens of thousands of times since) . It tells a timeless memoir about tradition vs. modernity, Eastern vs. Western culture and men vs. women. This tale was first written as the first-hand yarn of Anna Leonowens’ experiences in Siam in the mid-19th Century, where she had been hired by King Mongkut to boom his many children, in his hopes to push Siam into the new age. This record was first adapted for the titanic hide as ANNA AND THE KING OF SIAM (1946) ; unseen by me, it has been highly regarded in its contain legal, and starred Irene Dunne and Rex Harrison. THE KING AND I stars Deborah Kerr (last name pronounced “Carr”) and Yul Brynner. Deborah Kerr completely embodies the strong-willed but emotionally fragile young widow Anna Leonowens; she makes Anna into a character with whom we identify and sympathize. We side with her in all disputes, from demanding that she be given her beget house in which to quit as fragment of the unique deal, to calling King Mongkut to task for enforcing double-standard sexual laws that were outdated and demeaning to women even at that time. As the equally strong-willed King Mongkut, Yul Brynner commands the conceal in every scene he’s in. You simply cannot witness away. His King Mongkut is someone who wants to change Siam for the better, yet struggles to cling to many of the same traditions that he slowly begins to realize is partly responsible *for* holding Siam succor. His heartbreak by film’s waste is emotionally gut-wrenching, and never fails to bring me to tears. The Russian-born, half-Mongolian Yul Brynner makes you own he is a Siamese King; his performance is so incandescent that his transformation into this character appears to be almost effortless. And, of course, it won him a very well-deserved Oscar for Best Actor. Deborah Kerr gives a wide-ranged performance that spans all emotions throughout the course of this film. She was deservedly nominated for Best Actress, but unfortunately didn’t glean.
This film would have given us enough meat to chew on unprejudiced in the complex relationship between our two principals alone. However, it is not verbalize with unprejudiced doing that for us. It gives us two bright subplots, one of the forbidden admire between Tuptim (a virtually unrecognizable Rita Moreno, in a truly estimable performance) one of King Mongkut’s many wives, and Lun Tha (Carlos Rivas), and the visit by the British Ambassador Sir John Hay (Alan Mowbray) whom King Mongkut wants to trace with how civilized he, and the Kingdom of Siam, is. Also, the “play within the play”; namely, the hypnotic Siamese theater performance of Harriet Beecher Stowe’s narrative American record of oppression and cruelty UNCLE TOM’S CABIN, is fair so astonishing that words fail me as how else to relate it. Anna’s young son Louis (Rex Thompson) provides us with an effective sounding-board onto whom Anna reveals the kind of feelings about the set that she cannot convey to the King.
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Unfortunately, this or any other Western film treatment of this truly consuming myth continues to be banned in Thailand today, namely they feel that King Mongkut, whom I understand was one of their most beloved monarchs, is portrayed as a barbarian. I have two beefs with that sentiment: 1) King Mongkut is most decidedly *not* portrayed as a barbarian in this treatment (or in the 1999 non-musical ANNA AND THE KING, which is quite a incandescent film in its possess factual) —rather, he is shown to be a deeply conflicted man who agonizes at the prospect of losing centuries-old Siamese traditions, even as he expresses himself as one who wants to serve his country modernize; 2) If they want to bag the narrative suitable in their eyes, then where is the *Thai* version of the chronicle?
Controversies aside, this is impartial a graceful, glorious film. It has huge period costumes, in both Eastern and Western traditions. It has a mammoth, ornate residence primitive for the Palace. It has titanic music (“Getting To Know You” and “Shall We Dance” are my two favorites) . And it has unbelievable acting from all fervent, especially Brynner, Kerr and Moreno (who should have been at least nominated for Best Supporting Actress for her sensitive and radiant protrayal of Tuptim) . It is a joy to revisit every now & then. Parents, please do your children a favor and *keep them away* from the HORRENDOUS 1999 involving version, insultingly called THE KING AND I. That simpleminded, stereotype-laden, lamebrained version is a complete insult to anyone of decent intelligence. Unprejudiced demonstrate your kids the 1956 original; it is the only version they will ever need to ogle!
MOST RECOMMENDED, AGES 6 & UP
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Lillie Movie Streaming
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Lillie Movie Streaming.
Movie Title: Lillie Lillie is available for streaming or downloading. |
Quite simply, one of the best BBC Classic TV Miniseries ever produced. Filmed in 1978 and to be released in a four-disc DVD plot, the miniseries stars the colorful Francesca Annis (Tommy and Tuppence, etc.) as Lillie Langtry, one of the most distinguished and cross courtesans/ladies of the Victorian age.
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In an era when women were to be seen and not heard, the unforgettable Lillie broke every taboo without a backward peruse. The series chronicles her long life, and in so doing presents one of the best portraits of Victorian England ever filmed.
We glimpse Lillie as a young tomboy, grow to an awkward adolescent, a glowing woman, and a aesthetic obsolete woman. Each stage of her life is portrayed perfectly by Annis, the makeup transforming her body while her awesome talent transforms her character development as Lillie.
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Lillie is one-of-a-kind, a calculating woman of mountainous presence, grace and substance. Unfortunately, she becomes trapped in a loveless marriage, but she devises her contain blueprint to cope.
Taking fat advantage of her beauty, Lillie deliberately attracts as many as a dozen lovers and admirers including the married Prince of Wales and distinguished Oscar Wilde.
As her husband slowly drinks himself to death, she relies on her looks, wiles and self-assurance in the London Society of the 1870s to embark upon a sensational career as a marginally talented actress.
With guile, Lillie creates a truly fresh life of the courtesan, eventually gaining prestige by going on the stage and touring America many times over.
Throughout her life she endures financial waste and scandal, yet maintains her famed lifestyle. Because Lillie lives to be a very feeble woman, viewers are given an just sight of the Victoria Era through the span of her life.
As with every BBC miniseries dealing with period stories, the acting, staging, filming and music is all well above top notch.
This thirteen section Masterpiece Theatre series, which first aired in 1979, is certainly worth watching as it is quite piquant and well done. Detailing the life and loves of the illustrious Lillie Langtry, the Victorian era superstar, it gives the viewer a taste of an era gone by. beautifully acted by a stellar cast, the production suffers only from the depressed lighting dilapidated in the nineteen seventies, giving the sets and actors a somewhat washed out and flat appearance. That being said, it is smooth a series well worth watching.
Born on the British isle of Jersey to a womanizing clergyman and his wife, Lillie grew up as a tomboy with a rare beauty. At an early age, she marries Edward Langtry, a purportedly wealthy yachtsman from a shipping family, who takes her to live in Southampton. There, she finds life not to her liking. She soon discovers that her husband has sold her a bill of goods, as his wealth has been spent. After a bout with a serious illness, she contrives a proceed to London, where she is exposed to a taste of high society. After a fallacious open, she gets noticed by the local swells and becomes a distinguished beauty, sought after by all. Now, a fashionable society woman, she finds herself with her name on everyone’s lips. Lillie eventually comes to the attention of the married Prince of Wales and becomes his mistress.
Trapped in her loveless marriage with the hapless and alcoholic Edward Langtry, Lillie goes on to have numerous fancy affairs with some of the most socially prominent and wealthy men of her day and eventually has a care for child. Courted by all, her beauty and need for money brings her to the stage, where she becomes an actress with her occupy company. Her fame by now has spanned the ocean and made her a celebrity in America, as well as in Europe.
Lillie certainly knew the value of marketing, as she endorsed numerous products with her name. A woman ahead of her time, who marched to the beat of her possess drum, she mild went to gargantuan trouble to avoid scandal, though it was never far from her doorstep. Alas, in the ruin, her fame and beauty decimated by age, her lovers slow or gone, Lillie, no longer the toast of two continents, ends up nothing more than a lonely dilapidated lady.
The cast for this production is stellar and the costumes are first rate. Francesca Annis is dazzling and certainly gives a competent performance as the famous Lillie. Though her performance is acclaimed, however, the viewer cannot serve but wonder why such a fuss was ever made over Lillie, as she comes across as supremely shallow and vapid. I attribute this to the fact that Ms. Annis’ portrayal of Lillie comes across as being rather flat, failing to do her a truly likable character. Peter Egan, on the other hand, is kindly as Oscar Wilde and, as far as I am concerned, steals the explain. Filled with considerable social intrigue and witty repartee, the series will maintain the viewer riveted to the cover.
This four disc DVD is well done with splendid visuals and clarity of sound. It does not offer powerful by method of bonus features, but with such a lengthy production, who cares. All in all, this is a very exquisite and interesting series that will provide the viewer with hours of viewing pleasure. Those who like period pieces and historical dramas will most certainly savor this one.
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Stream S.T.R.A.I.N.: Strategic Armored Infantry – Complete Series Box Set Movie Online
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Stream S.T.R.A.I.N.: Strategic Armored Infantry – Complete Series Box Set Movie Online.
Movie Title: S.T.R.A.I.N.: Strategic Armored Infantry – Complete Series Box Set S.T.R.A.I.N.: Strategic Armored Infantry – Complete Series Box Set is available for streaming or downloading. Click Here to Stream or Download S.T.R.A.I.N.: Strategic Armored Infantry – Complete Series Box Set |
I watched the sub of this note, and on my design to engage this up. Honest to secure some perspective the Japanese title is Souko no Strain (http://en.wikipedia.org/wiki/Soukou_no_Strain) . This was one of the most memorable 13 episode series I’ve seen. The motifs tend to be peculiar towards the waste, I need to re-watch the raze of the series, but the pacing of the anecdote is astounding.
The tempo of the series is like, now glean ready for this, the first half of the first season of Death Effect. It really surprises you, and is original due to the sage. I consider the person who’ll savor this is someone who would delight in Gunparade March. Where you don’t study it for the mecha, exactly, but for what status the character finds themselves in. If you go into this series looking for pure action, you won’t be necessarily disappointed, but for me, it wasn’t the point. The point was the struggle the main character found herself in and how she worked through it. I recommend a notice for the points mentioned above.
Str.A.In., which is an acronym for Strategic Armored Infantry, is one of those rare titles that manages to grab a firm acquire of the viewer’s attention by indulging in an action-loaded, rip roaring sail from the first episode legal on through the thirteenth (and final) episode. It is marketed to appeal to mecha fans and indeed; it will vow in spades to those looking for a self-contained saga on par with some of the Gundam franchise entries. For everyone else, there is enough of a myth within the lightening-fast waddle to warrant serious consideration.
Released across 4 discs, Funimation brings the Studio Fantasia property to North American viewers via a pair of thin packs within a gorgeous cardboard slipcase. The show’s total runtime comes in at 300 minutes even with episodes 1-7 contained on the first disc and 8-13 on the second. There are extras in the perform of textless songs, English shriek commentary over the sixth episode, and a gash of Funimation trailers.
The explain wears an appropriate TV Ma (17+) rating due to some violent themes, occasional topless female nudity, and a bit of gore and rough language. Speaking of language, Strain comes in typical sub and dub options: Unusual Japanese dialog and/or English dub in 5.1 Surround with English subtitles available in either.
The sage centers on a young woman by the name of Sara Werec (who happens to be quite reminiscent of Dana Top-notch from Robotech Masters fame) . Our friend Sara, like her older brother Ralph, is a Reasoner; basically an elite pilot who patrols in one of the military’s most advanced weapons: the insect-like robotic units called Strains.
Strains require a very new interface to operate that is based on the merging of amniotic fluid and computer technology called a Mimic. It is explained early on that should a pilot’s Mimic be destroyed, their ability to operate a Strain is eliminated as well.
The beginning share of the expose sets up Sara’s almost incestual obsession with her older brother Ralph and how this obsession has ultimately led to her decision to follow in his footsteps by joining the Union military.
It turns out that there is a massive interstellar war being raged between human factions. Our protagonists fight on the side of the Union against a slightly more mysterious group known as the Deague (pronounced “Deeg”) .
The memoir really heats up once older brother Ralph begins leading a series of assaults against the Union by targeting training facilities. What ensues is sibling rivalry on the grandest scale.
What the show’s entire structure boils down to is balance- Balance between hard-core science fiction (the likes of which would fit just in with a Star Perambulate motion represent or Gundam series for that matter) with bouncing breasts and panty flashes. Balance between hardened warring factions and juvenile lesbian encounters. Balance between richly drawn character models and computer generated position battles. For the most section, the formula works. About the biggest flaw in the whole structure comes in the obtain of a lead character who takes entirely too long to warm up to. Granted she does endure a succession of heartbreaks, heartaches, and impartial general misery but the viewer more than pays the designate. Things do eventually improve on this front so long as you’re willing to endure several episodes of drone-like behavior with supporting cast bending over backward to bid their fancy or hatred of the lead character.
I should ticket that Studio Fantasia deserves credit for bringing a pleasing wintry visual style to the mecha element (a genre that must surely feel as if it’s all been done before when developing) . The Strains not only gawk like giant mechanized insects (something between a bee and a lady bug in flight), they also depart like them as well. Worthy of the combat sequences steal status at the hasten in which the units actually proceed (meaning close-ups with blurred backgrounds), we are treated to occasional angles of the Strains duking it out from a distance. They zip, zing, and zoom around each other like a pair of hungry hummingbirds. Suddenly the importance of an interface like the Mimic becomes distinct.
Without a doubt the show’s greatest strength lies within its pacing. I can go as far as to say that Strain contains the most explosive first episode that this author has yet to encounter. By the time the credits travel to dismal, you’ll be left catching your breath while thinking, was all that really impartial the first episode? The pacing slows a bit in subsequent episodes but considering that it has only 13 episodes with which to shriek its myth, there are few, if any, dragged out moments. The action-laden dart is quite consistent as well with the only exception coming in the produce of the seventh episode where a contrived attempt at humor puts the focus on an obsessed lesbian’s attempt to bag Sara’s affection.
Otherwise the reveal maintains a nice scientific come to situation recede, galactic distances, alien cultures, and so on. Politics are always in the foreground, which makes the battle scenes feel mighty more provoked and quintessential to survival.
Both language options are quite solid and in fact the dub really goes the distance to preserve the fresh script. The English cast reads like a who’s who in terms of Funimation’s vocal talent and the actress commentary over the sixth episode will convince even lottery winners that they’re missing out on the best job in the world.
In all Strain is an attractive mecha entry that will satisfy fans of the genre with a solid mixture of classical elements coupled to the animation benefits of computer technology. Kudos to Funimation for snagging this underrated property and brining it to the American masses that, like yours truly, can never have too mighty mecha.
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Malice Review.
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Malice Review.
Compare & Purchase Malice at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
Malice Description:
- Amazon Sales Rank: #19140 in Movie
- Released on: 2009-01-19
- Running time: 107 minutes
Customer Reviews:
Totally Underrated: A Brilliant Movie
Leonard Maltin, who usually agrees with me (!), gives this movie only 2 1/2 stars. The Amazon reviewer says it doesn’t make much sense and is full of McGuffins! Well, they’re both way off base this time. McGuffins? Try to come up with even one good one, and you’ll have something that most thrillers don’t have at all. Come up with several, as does MALICE, and you have a totally brilliant thriller. Yes, the serial killer subplot was thrown in–for laughs, maybe? No matter, it served its purpose of deflection, setting up the main character, and even — horror of horrors! — filling time while time needs to be passing by in order for the main plot to mature. The movie was touted as being from the same director who brought us SEA OF LOVE, which to my mind is an immediate turn-off. But it shows–as William Goldman shows so clearly in his books–that the same director can be quite different depending on the screenplay. MALICE has a great screenplay, so all the director had to do was film it. Of course, I exaggerate, but wait a moment–look who he had to work with: Nicole Kidman, Alec Baldwin, and Bill Pullman. Each turned in a totally outstanding, memorable performance. Pullman had the hardest role and he pulled it off. Kidman is one of the greatest actresses of our generation. Baldwin was good as usual, and we especially have to thank the casting director for choosing him for this role, which seems to be “pure Baldwin,” if you know what I mean (e.g., most Bogart movies are “pure Bogart,” as if there were no one else who could possibly play that role, including George Raft as Rick in CASABLANCA). And even Peter Gallagher shows up here in an early role that makes a strong impression. George C. Scott is perfect, as always, in a cameo role. Nicole Kidman does not seem to be all that impressive through most of the movie, but she’s playing a role, and playing it to the hilt, as we find out later. She gets her chance to show what she can do in the last fifteen minutes, and you can see her incredible range, her ability to focus the film, the depth of her resources as an actress, which she exceeds only in her bravura role in TO DIE FOR. All in all, MALICE is one of the finest thrillers of the 90s, and my prediction is that it will become a major cult favorite and be reissued sooner or later on DVD.
See It Once For The Story, And Again For The Acting
MALICE is one of those movies that you simply MUST see more than once to believe. The first time through, MALICE is a great psychological thriller, with twists and turns through a plot that contains rape, murder, life-and-death trauma, and a fight to the death…all within the first 45 minutes. The second time through, though, provides a look at all the things you might have missed the first time around…and a chance to savor an outstanding performance from perhaps the most underrated actor in Hollywood, Alec Baldwin.
Bill Pullman plays Andy Safian, an associate dean at a small New England college outside of Boston that’s currently under siege by a serial rapist who claims his latest victim as the film opens. Nicole Kidman plays his wife Tracy, a volunteer in the pediatrics ward of St. Agnes Hospital. They’re renovating a Victorian house and need $14,000 for the plumbing. Enter Alec Baldwin as Dr. Jed Hill, a former high school classmate of Andy’s, who’s brand new in town and needs a place to stay. Andy needs the money, Jed needs a room, so the two hook up and soon Jed is sleeping upstairs in the Safiens’ home…usually not alone, and his sexual escapades are grating on Tracy’s nerves. The rapes continue, Andy is fingered as a suspect, and in the midst of it all, Tracy collapses with a ruptured ovarian cyst. Jed operates to save her life (after a night of drinking and wild partying), but renders her unable to bear children…leading to a malpractice suit from Tracy and an incredible soliloquy on surgeons with a God complex from Jed during the deposition.
But once the first half of the film is over, things really start to roll. Without revealing the rest of the plot, suffice it to say that as Andy, Tracy, and Jed all try to start their lives over again, their fates become inextricably entangled.
The movie is worth seeing once as a thriller. But the second time around, Baldwin’s mesmerizing performance is what stands out. Jed is charismatic, seductive, and as charming as a cobra as he weaves his spell over the Safiens. Baldwin’s ability to jump from utterly charming to incredibly chilling in the blink of an eye is on full display here; it is truly the performance of a lifetime.
See it once for the suspense, and again for the acting.
Twisting and Entertaining
Proper enjoyment of this diverting little feature requires not knowing the plot twists, so I’ll try to not spoil that enjoyment in praising this film.
I join Roger Ebert in not being able to think of another film that throws in a serial killer as just atmosphere – I watched this movie when it first came out a decade ago, then again on DVD yesterday, and I had completely forgotten the part about the serial killer.
Aside from the fact that George C. Scott and Anne Bancroft have left us, it would be difficult to assemble a cast like this wouldn’t it? Alec Baldwin, Nicole Kidman, Bill Pullman, Anne Bancroft, Gwyneth Paltrow, George C. Scott, Bebe Newirth, Peter Gallagher all contribute to this film.
I love to watch films of any genre and any country and the sensation I like to have at the end of the viewing experience is “satisfied” – in the same way that I’d like my palate and belly “satisfied” by a good meal. This screenplay twists and turns, but rather than in a Charlie Kaufman “hey-look-at-how-many-unexpected-twists-and-turns-I-can-put-in” kind of way this story moves in a way that wraps up loose ends in a “satisfied” kind of way.
Especially used, this DVD can be had for a song also. It’s a satisfactory way to pass a couple of hours.
Watch Lillian Russell Online
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Watch Lillian Russell Online.
Movie Title: Lillian Russell Lillian Russell is available for streaming or downloading. |
This was Alice Faye’s personal well-liked among her films, and to my knowledge is quiet the only full-length film biography of Lillian Russell available. That’s why I have mixed feelings about its release on DVD – suited, for the reason previously stated and since it’d long been unavailable on VHS (I had to see it for the first time on a home-tape copy years ago), because it’s one of Faye’s better performances and because technically and visually it’s outstanding. Faye’s costumes are, as one might inquire of in a film about a woman who along with the “Gibson girl” defined style for American women in the Blissful Nineties (1890′s), graceful. In this day and age where there’s so considerable front-page peril about supermodels and actresses starving themselves to meet some (in my belief) perverted standard of super-thin “beauty”, it’s also especially capable to have a film celebrating a woman – the greatest American celebrity of her time, and one of the first and greatest pop stars the United States has ever produced – who reveled in her plumply voluptuous body shape. (Indeed, at one point during the zenith of her fame, she would tip the scale at 200 pounds!) Alice Faye is, of course, more slender than the new, but calm exceptionally shapely; according to the booklet accompanying the disc, one corset she wore for the role shaped her waist down from 26 to 20 inches.
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However, this film is seriously hampered by principal historical inaccuracies from beginning to waste. Many of these are no doubt due to the need to maintain the Hays Office pleased, as Lillian Russell had a flamboyant private life with four husbands and several high-profile romantic liaisons (including her eminent relationship with “Diamond Jim” Brady, which gets fairly short shrift aside from a cute scene where Russell and Brady boast about how remarkable they can eat) . Her relationship with her second husband (presented in the movie as her first), Edward Solomon, is a key case in point. In sincere life, Solomon was arrested for bigamy in 1886, two years after they married, and Russell divorced him soon thereafter.
(Spoiler alert!) He did not die of a heart attack while trying to write a musical for Russell in London. This is a bowdlerized retelling of the fate that befell composer John Stromberg, who committed suicide while in the middle of a writing project for Russell; the last song he wrote for her, “Reach Down Ma Evening Star”, was found in his pocket after his death and became Russell’s signature song during the latter allotment of her career. (Contrary to the movie, it was not written into a Gilbert and Sullivan operetta. Russell was indeed originally hired for the title role in “Princess Ida”, but she was fired during rehearsals.) Alexander Moore, her fourth husband (Henry Fonda), is portrayed as the worship of her life, but in fact they didn’t marry until 1912, at which point she basically was ready to retire from the stage; in the movie, it’s presented as happening sometime in the mid-1890′s when she was unruffled at her career peak, if one is to think the apparent age of her daughter in the last few scenes of the movie correctly. These are fair the most egregious of the movie’s historical fiddlings; the fact that it basically covers her life only up to about 1895 means that it leaves out some of the most sharp times, such as her advocacy of women’s suffrage (following in her mother’s footsteps), her political work after World War I, and especially her yeoman recruiting efforts for the U.S. Marine Corps during the war – which would have made a boffo finale for the movie, especially considering that it was released in 1940, not too long before America’s entry into World War II.
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Oh, and as for what I said earlier about “from beginning to demolish”? Russell’s birth is shown as happening in the middle of the Civil War, with the town doctor, who has enlisted for the Union Army, narrowly missing going AWOL in order to assist with the childbirth. In reality, though, Lillian Russell was born on December 4, 1860 – before South Carolina had even seceded.
Don’t rep me inferior. This isn’t a unpleasant movie by any means. If you concentrate on Alice Faye’s smart performance – accentuated by her beauty, her singing, and those costumes – it’s a very safe movie. But it’s not the movie a superstar of the caliber of Lillian Russell truly merits.
LILLIAN RUSSELL is a worthy example of Alice Faye’s prime films from her prime era in the slow 1930s and early 1940s. My focus here is on her 1940 sage, LILLIAN RUSSELL, a rather problematic film but not for those who understand that 1.) it’s a musical, not a documentary; and 2.) as the author of the film’s screenplay stated, “My is purpose is to explain Lillian Russell as people remember her, not as she really was.” In other words, this is meant to be an escapist musical film, not a docudrama.
The actual Lillian was quite a gal who apparently had had affairs with wealthy Jesse Lewissohn (try finding HIM on an Internet search) and Diamond Jim Brady (today his claim to fame is that the Johns Hopkins Urological Center is named after him) . But William Anthony McGuire, who is credited with the film’s screenplay (he wrote routines for Broadway producer Florenz Ziegfeld in the 1920s) cannily wove his legend with a nod both to the film censors and to his insider’s knowledge of Broadway in Russell’s heyday. If you know what REALLY happened, you will realize that McGuire did a shapely respectable job of suggesting the events of that day.
For me, the highlight of LILLIAN RUSSELL is a short sequence arrive the waste of the film by Lillian’s real-life employers assist in 1895 – Joe Weber and Lew Fields. If I have one complaint about this film – and it’s one nobody else seems to have picked up on – it’s that the film presents Lillian as a singer and not an actress. Fact is that she was a successful dramatic actress who sang, but by 1895 her career was somewhat stalled. At that point Weber & Fields hired her and took a chance on her having comedic abilities. A highlight of the “Weberfields” shows as they were called, was a spoof of a hit dramatic play currently on Broadway. The burlesque required the ensemble cast to deem on their feet and adlib frequently. Lillian Russell came through with flying colors and her association with Weber & Fields revitalized her career. None of this is even hinted at in the film.
Weber & Fields were a comedy team who began as teenagers in Recent York City’s Bowery of 1879. Imitating the Dutch German immigrants (not Jewish as is usually assumed today) they saw on the streets, Joe and Lew developed bewhiskered characters Mike and Myer (with short, skinny Joe Weber padded around the waistline to compose him spy like he weighed 300 pounds) . Weber & Fields became their fill producers by 1889, then began producing other Broadway shows during the 1890s.
Weber & Fields initially parted company in 1904 when they disagreed on the types of musical plays they wanted to do, but reunited in 1912 and therafter, while continuing to acquire various shows independently of each other.
Remarkably, although all their contemporaries had died long before the film LILLIAN RUSSELL was produced in 1940 (Lillian herself expired in 1922, Diamond Jim Brady in 1917), Weber & Fields were smooth going strong in 1940 (although retired and living in Beverly Hills, CA) .
The film’s producer Darryl Zanuck contacted the team and they filmed one brief routine for the film in January 1940. That should have been the destroy of their involvement. But Zanuck liked the routine so powerful, he invited them serve and asked them to expand the routine. Zanuck region aside three days to film the expanded sequence. Weber & Fields, by then in their mid-70s, filmed a total of four different takes in only three hours. The only retakes were due to laughter by the film crew – the boys were letter perfect in all four takes. Curiously, they seem to go in and out of character, sometimes playing themselves, then playing Mike and Myer. It’s a considerable performance. It also turned out to be their final performance.
The sequence is so rich that after watching it five times I’m unexcited discovering lines and bits of business that somehow I missed in earlier viewings. One throw-away bit occurs when Lew Fields is shuffling a deck of cards – he tells Joe Weber that he was talking to David Warfield support stage (Warfield was a comedian in Weber & Fields’ company who successfully managed to transform himself into a dramatic star on Broadway) . Fields says, “Do you know what he said? ” Weber replies, “I dunno – he wants more money? ” “No,” says Fields, “He wants to play dramatic parts.” Admittedly, a viewer who never heard of David Warfield will earn no sense of this dialogue. Movie viewers in 1940 would have followed the conversation perfectly. Many film critics in 1940 conception the Weber & Fields sequence was the best scene in the film.
To Fox’s credit, a short bio on the dependable Lillian Russell is section of the bonus material, along with “on the place” photos of Joe Weber and Lew Fields taking their last bow a half century later. I’m distinct that Joe and Lew never conception that their 19th century routines would be watched by us in the 21st century. Such is the magic of the movies.
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Stream Now and Then Movie Online
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This is a enormous character film expanding the lives of four young girls from the marvelous customary 70′s decade and stirring up a lot of worn memories.
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The film starts with the adult versions of the four girls played by Rosie O’Donnell, Melanie Griffith, Demi Moore and Rita Wilson as they advance together for a reunion for the birth of Wilson’s child. Not remarkable has changed! O’Donnell has become a doctor, Griffith a movie star, Moore a writer and Wilson a pink and perky mother to be. This film allows us all to stare how these women came to be and it is actually sparkling insightful. So sit wait on and rob yourself on an “old-fashioned school” lope help in time.
Soon enough this movie goes serve in time to the early 70′s when kids could bolt bikes all over town, ice cream sodas were the rage, AM radios hung on every handlebar, laughter hung in the air and stories were meant to be told. The young O’Donnell is played by Christina Ricci, a tough tomboy growing up in a family of men because her mother was killed. Ricci is the strong one, the shoulder to bellow on, the fighter who would rather play sports than sprout a couple of breasts. Griffith is portrayed as a young girl by Thora Birch and as a youth is fascinated early by sex, erroneous breasts and being an actress. Birch is the adventurer, the wandering heart and the heartbreaker of the group. Moore’s child is played by Gaby Hoffman and she is the unexcited, introspective and questioning young girl. Hoffman gets herself in all sorts of dilemmas stemming from the shame of divorced parents who act more like children than she does. Finally Wilson is played by Ashleigh Aston Moore, and of all the girls she remains steadfastly the same in adulthood as in youth, a simple, rather innocent girl surrounded by a perfectionist mother (played by Bonnie Hunt!) and an entire room of pink and lacy curtains.
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The young girls are shown growing up and plucky the world, finding where they all belong and how they are alike yet very different. The film brings befriend expansive memories of the time through the utilize of colossal music and ties to sure events that impacted the generation. The happiness and innocence of the decade is found on the country roads and soda shops as the girls notion their adventures. Amusing crushes and fights with boys are inevitable along with all the challenges of growing up corrupt. All of the fun of childhood is represented here, the cemetery séances, tree-house meetings, excursions on bicycles, splashes in the river, sneaking out the bedroom window at night and childhood friendships that should last a lifetime. I found this film keen and insightful, but then I came from the same generation so I can totally report. So I search for it every now and then for the sweetness and the memories of a tremendous childhood.
“Now and Then” is a very grand depiction of growing up..
And it features the early days of 2 of now our greatest and most sexiest actresses Thora Birch (here she is a blonde) and my current Christina Ricci..They shine as does the other 2 girls in this more then improbable movie..The movie features a incredible 1970s Classic Rock soundtrack..It covers all areas of what 70s Classic Rock was..Win up the cd soundtrack while you are at it along with this dvd..The only downside on this dvd is there is SADLY No Leisurely The Scenes..I wish they would have unhurried the scenes and bloopers of this movie would have been titanic..
And even better would be a reunion of the cast..Coz i am wondering what ever became of the other 2 actresses in this movie with Ricci & Birch..And this too i reflect they could have casted the “older” versions of the girls better then they did..Rosie O Donnell as the older Christina Ricci in Rosie’s dreams..The only one of the “older” versions that is really believable that can really represent is Melanie Griffith as the “older” Thora Birth..But they are not in this movie long thankfully..They are only in launch and destroy with maybe a total time of 5 minutes or a tad more..Not enough to kill this sizable movie..The movie focuses thankfully more on Ricci / Birch and the girls..Other then what i unbiased mentioned this is one of the greatest films you will ever notice..And if you had been between ages 5 and teen years in the 1970s it will bring support loads of memories..Everything from the opening scene of the girls playing “red rover red rover let (attach your name here) reach over” to the music to the looks and fair things did as a kid and teen in those days..It is reinacted sooooo well that you can’t even inform this is a 1995 movie..The sets the feeling is total 70s..It is recreated magnificentally..I am 38 this year *2004* and it brought encourage many memories for me..Christina Ricci here reminds me sooooo noteworthy of My Beloved Mandy when we first met true down to a priceless basketball scene..So this movie has sentimental value to me..Scrutinize this movie maybe it will touch you in that contrivance too..But either arrangement i can guarentee that it will bring succor memories..It will be a fun filled viewing exsperiance..A kind of a early teen girl version of Stand By Me..Exquisite Fun and Extraordinary filmed movie adds up fun for all no matter when your generation is.NOT TO BE MISSED
Gets better with every single time you scrutinize it..A must for any fan of the one and only Christina Ricci..If you are a fan of Christina Ricci and you don’t have this movie derive this movie to show you are her fan..Christina Ricci Rules……
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The Way We Were Lowest Price!
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The Way We Were
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- Amazon Sales Rank: #7767 in Movie
- Released on: 2007-09-18
- Running time: 119 minutes
“Katie, it was never uncomplicated”
As stated many times before, THE WAY WE WERE is one of only a handful of romantic blockbusters to actually feature an intelligent script and complex characters. Writer Arthur Luarents’ based his screenplay (and subsequent novel) on girl he knew in college, who fought for liberal (and sometimes communist) causes. Three decades after it’s release, THE WAY WE WERE remains one of the few cinematic depictions of the Red Scare that swept America in the forties and fifties; the backdrop of which lends the surrounding love story greater potency and depth. The film was a surprise box office smash when originally released, and became the fifth-highest grossing film of 1973 and was instantly embraced as a classic.
Katie Morosky is a character that Barbra Streisand born play, and she delivers on all accounts. Fierce and determined, yet vulnerable and self-conscious, Katie is a tricky character and Streisand inhabits her so deeply that she seems nothing less than completely believable. Justifiably nominated for a Best Actress Oscar, she inexplicably lost to Glenda Jackson’s shrill performance in the barely remembered A TOUCH OF CLASS. This was clearly a major blunder on the side of the Academy of Motion Picture Arts and Sciences. Robert Redford, who had actually turned down the role twice before director and friend Sydney Pollack talked him into taking the part, displays some of the best reflective acting ever seen on the big screen and effectively brings forth the dark side of being stereotyped as the All-American golden boy (although Redford did not receive an Oscar nod for playing Hubbell in this film, he was nominated for Best Actor that same year for his light comedic performance in THE STING).
THE WAY WE WERE is different from most romances in that it is not death, feuding families, or any other societal phenomena that directly tear the couple apart. Katie and Hubbell are simply passionate individuals with highly volatile, and contrasting, ideologies; the conflict of which is expressed in several brilliantly written and acted scenes that shimmer with the type of intelligence and honesty that is rarely seen in cinema today. The film’s enduring popular success with the mass audience may very well be due to the magnetic chemistry between Streisand and Redford, the gorgeous cinematography, and the strong directorial hand supplied by Pollack. However, it is the complexity of the romance with politics and the strong characterizations by both leads that continues to make THE WAY WE WERE the best love story for adults.
About the DVD: The picture quality is very good, quite possibly the best the film has ever looked. You must remember that movie has always had a stylistically hazy look. The sound quality is also vastly improved. Pollack’s commentary track is interesting, but the 60-minute documentary is the best extra on the disc. Featuring insightful interviews from Pollack, Streisand, and Laurents (as well as composer Marvin Hamlisch and lyricists Alan and Marilyn Bergman) the documentary is well-produced and entertaining, and it was great to finally see those much-debated deleted scenes.
“See ya, Katie”
I want to strangle Hubbell when he says this final line at the end! But my rage is just an indication of how much I adore this movie!
I think people who giving a low rating to the film because of the incorrect portrayal of the communist movement, and whatever, are missing the mark of this movie entirely. The Way We Were is a love story, first and foremost. Communism is just a circumstance that complicates the love story. It is NOT in my opinion, the central theme of the movie.
That being said, TWWW is a classic story of “love isn’t enough.” I think Katie and Hubbell love each other deeply, but they are such different people. She wants him to be everything that she believes he is. (Whether he is or isn’t those things is debatable.) But he is content living a safe, yuppy life. He needs a girl who can just roll with that lifestyle, hence, he ends up with the nameless girl at the end of the film. She represents the safe type of girl that is pretty enough to keep Hubbell interested and safe enough to allow him to live his yuppy life.
It’s clear in the scene at the end that the love between them is still strong. You can feel the heat of that final embrace through the screen! I could go on and on about why this movie is one of the greatest, but I can’t. See this film.
DVD is Well Done – Looks & Sounds Better Than Ever
Finally! THE WAY WE WERE in widescreen! I think it really makes a difference. I’ve only seen pan and scan versions on video. It is especially noticeable in the opening credits where names/credits appear on one side of the screen and action takes place on the other side. For the first time we get to see Katie at her typewriter and Katie talking to her teacher.
The rest of the dvd is done just as well. The picture and sound are pristine. The menu screens are classy and easy to use. The bonus trailers from FOR PETE’S SAKE and Streisand’s later films are fun to see.
The hour-long documentary featuring interviews with Sydney Pollack and Streisand is very revealing. Pollack seems humble and grateful about the film. Streisand is relaxed and beautiful – again, reflective and humble about the experience as Pollack is. There is even a segment with Marvin Hamlisch on piano playing the different versions of THE WAY WE WERE theme. And Alan & Marilyn Bergman are a hilarious couple!
Sydney Pollack’s comments on the extra audio channel are interesting as well. I haven’t gotten through the whole movie yet, but so far so good!
The dvd is definitely a must-have for Streisand fans. But even fans of this classic romance will find much to like about the dvd as well.
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Better than both “Seven” and “Natural Born Killers”, director Matthew Bright’s “Freeway” is a looseleaf current notion of Red Riding Hood where Reese Witherspoon plays Red traveling to Grandma’s house.
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Only she takes this jog after her prostitute mother and junkie stepdad are arrested, she escapes the cluthces of foster care, she says goodbye to her fiancee who is then murdered in a driveby shooting, she hitches a trudge with a psycho who turns out to be a mass murderer, she kills a few people, ends up in lockup, escapes, finally makes it to Gradma’s house, where some more bloody action takes set.
Oh yes, she has homosexual and heterosexual sex, spends a lot of time saying the “F” word, brutalizes most anyone that gets in her map, and otherwise creates mayhem for everybody. Sounds like your typical Reese Witherspoon role, eh? No, not by a long shot.
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But one thing about her role — she is wonderful, out of this world broad. She is twice the actress in this role she was playing June Carter Cash, for which she won an Oscar as best actress. On the basis of these roles, Witherspoon must be considered one of the best actresses extant proper now.
As the description here and on Amazon indicates, this movie presses the envelope of the “R” rating as far as possible without slipping over into NC-17. There is gory, bloody violence throughout this film, nudity and more “F” and “F”ing talk than you heard by Matt Damon when he played that low-class genius at Harvard. Someone told me they said “F” 147 times in that movie. Witherspoon herself must say it that many times here.
But none of this diminishes the incredible electricity and action that swallows the viewer just from the opening scene, where junkie-hooker mom gets arrested and weirdo-junkie stepdad forces Reese to do the detestable while mom’s out earning a living. There is an uncompromising level of reality in these characterization, too, although it’s clearly an over the top psycho young Sutherland plays.
In an fabulous bit of casting, squeeky desirable prom queen type Brooke Shields is cast as the uptight, upscale wife to lurid pervent and child molester Sutherland, whose character is even more disgusting than Witherspoon’s. While everyone wants Sutherland rubbed out, Witherspoon manages to maintain viewer sympathy because of for her bad situation in life even throughout her ongoing antisocial activities. Other players, incluidng Dan Hedaya as a cop with sympathies all over the situation, contribute a lot to this film.
This is recommended for viewers unafraid to leer inside the gloomy side of our culture where youngsters like the one Witherspoon plays actually exist. There is nothing radiant or desirable about this movie; powerful of it seems upside down. But it is unrelentingly though-provoking and is burly of action in almost every scene, action you may never have seen in a film before.
A 15-year-old illiterate girl named Vanessa Lutz (Reese Witherspoon, about 19 at the time) lives in a crummy motel with her lunatic, methadone-addicted, prostitute mother (Amanda Plummer in an improbable performance) and crack-smoking, child-molesting step father (Michael T. Weiss, of The Pretender, as you have never seen him….before or since) . When mom and dad earn arrested for about the 100th time, dreadful young Vanessa evades Child Protective Services custody, gets a gun from her dusky, gangster fiance (Bokeem Woodbine) who can’t join her because of a parole hearing in the morning and who is immediately murdered in a drive-by shooting, and, wearing a red jacket and carrying a basket, she heads for Grandma’s house (ala Minute Red Riding Hood), only to have car difficulty and be picked up by the dreaded I-5 rapist, pederast, and serial murderer (Keiffer Sutherland) ….now here is the best part: this is a COMEDY!!!
Granted, it is the blackest of sunless comedies, but get no mistake, this gem offers some of the most hilarious dialog and situations you will even eye on film. Brilliantly written and directed by newcomer Matthew Shimmering, it features first-rate performances by a great cast, including an almost unrecognizable Brittany Murphy as a deranged, paint-sniffing lesbian with a face that is hacked up like a post-Christmas ham.
Possibly due to its unorthodox tone and stammer, this 1996 masterpiece never received the marketing and public release it deserved, but was quiet selected by critics (including Roger Ebert) as one of the finest films of the year.
If you want to view a performance by Reese Witherspoon that makes all her subsequent roles, including Ring of Fire, discover like high school plays, then please give this DVD a try. It isn’t the cute, cuddly, predictable Reese of novel times, but an infinitely more moving, gun-toting, butt-kicking, foul-mouthed wild woman who doesn’t pick excellent to those who dare to treat her with disrespect. Like Destroy Bill and Factual Romance, this movie features strong women in situations where attempted victimization by men inevitably leads to mayhem….and a lot of dull, disfigured men.
This is a very special movie that will appeal to those who like the gritty action and gloomy comedic aspects of movies like Pulp Fiction, Accurate Romance, and Destroy Bill. Matthew hit a major home speed on his first time up to bat and has, unfortunately, struck out since. His DVD commentary track will relieve you understand and luxuriate in the intricacies of this truly expansive movie and the personal, somewhat bizarre eccentricities of the director who made it all happen.
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Tell No One Review.
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Tell No One Review.
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Tell No One Description:
- Amazon Sales Rank: #7078 in Movie
- Released on: 2009-12-25
- Running time: 132 minutes
Customer Reviews:
A Virtuosic Mind Twister of a Film
TELL NO ONE (Ne le dis à personne) succeeds on every level for this viewer. Based on Harlan Coben’s novel and adapted for the screen and directed by Guillaume Canet, this is one of those intricately complex French films that is much in the same mode as the 1955 film LES DIABOLIQUES. Nothing is as it appears at first and even when the mystery is explained in what appears to be a systematic, cohesive manner, the ‘real story’ remains a conundrum. It is a brilliant little film well worth multiple viewings to fully appreciate all of the aspects of the fine acting, cinematography, direction and musical scoring.
In a misty opening we discover Alexandre Beck (François Cluzet) and his beautiful wife Margot (Marie-Josée Croze) only to abruptly be drawn into the murder of Margot and the beating of Alexandre. The incidents are shrouded in mystery and remain so for eight years when suddenly the now pediatrician Alexandre receives an email from the ‘deceased’ Margot. Alexandre’s world is topsy turvy and he begins to share the strange incident with his family – his sister Anne (Marina Hines) and her lover Hélène (a radiant Kristin Scott Thomas), his father, Margot’s family…and the police who begin to discover evidence that implicates Alexandre as the perpetrator. Alexandre’s lawyer (Nathalie Baye) pits evidence against the police investigators while Alexandre’s chief ally in his run from the accusers is Bruno (Gilles Lellouche), the father of a hemophiliac patient whom Alexandre has treated and befriended. The chase is on and the clues become increasingly puzzling until at last the truth of the now eight year old murder and all of the implications of that event unfold.
If there are seemingly holes in the story it is because we, the audience, are never quite sure about the twists and turns of the plot. The acting is superb from this cast of some of France’s finest artists, and one of the best performances in the film comes from British actress Kristin Scott Thomas, reminding us that she is one of the most talented and beautiful actors on the screen today! This is a tough little film to follow, but the quality of both the story and the production is first rate. Highly Recommended. Grady Harp, October 08
A very exciting thriller: Hitchcockian intrigue keeps you guessing throughout this French “Fugitive”-style film
This is a very exciting thriller, in the tradition of American films like The Fugitive, but with a unique edge that makes it distinctively French and deliciously diabolical. It is certainly darker (and funnier) than The Fugitive, but it is no accident that there is an American feel, since it is based on a book by Harlan Coben.
Eight years after his wife’s brutal murder, new clues emerge that lead police to once again suspect that Alexander Beck may have killed her. At the same time, he begins to think she may be still alive, and is frantic to find her before he is arrested as a suspect for another related homicide. Director Guillaume Canet keeps you guessing as the plot thickens, revealing bits and pieces of the past as new circumstances help Beck to see that he didn’t know his wife as well as he had thought.
The film looks great, with editing and camera work that helps to achieve a perfect balance of subtle tension and intensity. The performances are all very strong — and there is a surprisingly intense performance by a bit player, a determined and remorseless tall and skinny female assassin/torture expert, that still haunts me. In fact, I would go as far as to say that her performance created one of the most frightening villians I’ve seen on the screen in a long time — even more than the performance of Javier Bardem as Chigurh in No Country for Old Men — because it was just as intense but more plausible. Definitely recommended for lovers of French Cinema, but also for those who think that French films tend to be too cerebral and cannot deliver the thrills. This one hits you in both the brain and the gut.
One of the finest thrillers on film, from an equally fine book. Guillaume Canet and Harlan Coben make a great team
Says Roger Ebert: “Here is how a thriller should be made.”
Says Stephen Holden of the New York Times: “I watched it twice. It was even better the second time.”
Says me: “I couldn’t agree more with them.” Tell No One, even without the quotes, is one of the best thrillers I’ve seen in a long, long time.
Alexander Beck and his wife, Margot, both much in love, have gone for a bit of evening skinny-dipping in the country. There’s a minor disagreement and she dives back in from the float and heads to the shore. He hears her cry out and swims as swiftly as he can after her. When he reaches the small dock and starts to pull himself out, he’s met by a baseball bat. While he’s in a coma for three days his wife is found dead with severe bruising and cuts, the marks of a known serial killer. But who pulled Beck out of the water? Who called for emergency medical help?
Eight years later Dr. Alex Beck, a pediatrician, is told by the police that the remains of two unidentified male bodies have been found in the vicinity of where his wife was murdered. Then he receives an e-mail on his computer. The attachment shows a woman leaving a crowded exit. She pauses and looks at the security camera. The picture is fuzzy. The scene ends. Beck has never remarried and still is haunted by the memory of his wife. He is almost sure this woman is she. The message in the e-mail says, “Tell no one. They’re watching.”
The director and co-screenwriter Guillaume Canet has taken the novel by Harlan Coben and, working with Coben, has fashioned a film at least as good as the novel. The film has been crafted with care. You’d best pay attention to every moment. Irrelevant items turn out to be relevant. Assumptions based on how a scene opens turn out often to be not what they seem, but just as reasonable. Canet (and Coben) don’t shy away from violence — there is a memorable woman you don’t ever want to displease — but the violence isn’t just for gee whiz show biz purposes. When violence happens, it reminds us to stay alert. Canet takes us all over the place, from Paris slums to society horse events. He has Beck dancing across a highway filled with speeding cars and then hiding out in a dumpster sharing space with garbage and a large rat. The story is just as complicated as Coben’s novel (as all his novels are), but — if you’ve been paying attention — all becomes clear. If the cops are after Beck because they think he may have had something to do with his wife’s death, it also may be true that others are after him because they think she might be alive. But why?
Helping immeasurably with the interest and speed of the film are the actors. Francois Cluzet plays Dr. Beck, a capable, resourceful man, but no buff Hollywood hero. Cluzet is not an especially handsome lead actor, and that’s all to the good. Surrounding him are such fine French actors as Andre Dussollier as his wife’s father, a grieving retired senior cop; Francois Berleand as a sympathetic and smart police officer; Nathalie Baye as a lawyer who knows how to deal with district attorneys; and a fine Jean Rochefort, as well as Kristin Scott Thomas speaking impeccable French as his best friend, a wealthy woman having an affair with his equestrienne sister.
Tell No One is an excellent movie. And I hope you’ll pick up of a few of Harlan Coben’s mysteries while you’re at it. He started out with several books featuring Myron Bolitar (whose best friend, Win Lockwood, is not a person to irritate). Try the first one first, Deal Breaker (Myron Bolitar Mysteries). Coben lately has moved into darker themes, such as Tell No One. His latest is The Woods. Coben knows how to create intricate but logical plots and strong characters. He’s a first-class writer. His books are much better than the usual thriller-every-year bestseller that some authors churn out regularly.