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I am currently on vacation in Israel for summer, and so was able to see this incredible film. A bit of a warning before I begin writing: I speak fluent Hebrew, and so the Hebrew parts were no problem; however, about a quarter (a bit less) of the film is in Arabic, and I was unable to understand a bit of this subtitled bit. This did not detract from my understanding of the film, but did cause me to miss a few jokes which evoked some strong laughs in the theater.<br /><br />After a year of American Cinema which many hailed as one of the greatest years for homosexual cinema and relationships, it takes something truly special to stand head and shoulders above the rest; yet, "The Bubble" surpasses all others with its blend of excellent acting, witty dialogue, and relevant political climate.<br /><br />The film opens on a checkpoint on the Israeli-Palestinian border; For the first few moments, we are unsure about the type of movie we have walked in on. Yet, this is an important element of this film's strength. The political situation, and the extreme tension in the air is constantly in the background. Most importantly, Tel Aviv serves as a character of its own in this film. It is constantly referenced. Street names and restaurant names are constantly exchanged. The skyline and city development is critiqued quite harshly, and ultimately the city evolves along with the film The film focuses on the love between Noam (Ohad Knoller) and a Palestinian immigrant, Ashraf(Yousef 'Joe' Sweid), with the societies of Tel Aviv and Palestine serving as a constant foil. We always know that their relationship is forbidden, and this creates a sense of urgency rarely present in cinema. The love is incredibly strong, and stands as the centerpiece of the film. The secondary relationships and friendships are equally strong: flamboyant restaurant owner Yelli's ( Yousef 'Joe' Sweid) relationship with the ultra-butch and grating golani solider, Golan (Zohar Liba), is particularly a source of amusement. The love scenes which abound in this film are all exquisite, fine crafted works of art, and the cinematography is astounding: In the first love scene of the film, the camera pans down as a male character gives oral sex to Lulu (Daniela Virtzer), and dissolves into a shot of Noam and Ashraf. This shot any many others lead the viewer to realize that all of these relationships are expressions of the very same form of love.<br /><br />To give away more of the storyline would be a tragedy, but know that there is a lot of political tension and tragedy which touches onto the current world political climate, so I will instead focus on the witty dialogue. Even when watching this movie in my second language, I could not stop laughing throughout. Lines of particular amusement include the question of whether gay suicide bombers receive virgin women or men in heaven, and an analogy of Sampson from the bible as the worlds first suicide bomber. This dialogue shows a particular sense of purity and reality which is rarely seen in Cinema. The music used in the film is also particularly powerful. Music is only used in times when characters legitimately could or should be listening to it, and in one scene the music weakens when a character removes one earphone and stops when he removes the other. Little elements like this truly elevate the film.<br /><br />I could not give greater recommendation to a film; this is a superb work of cinema which is catharthic as well as extremely well crafted. | 1pos
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The reviewer who called this movie a bust has clearly missed the point. It's obvious he hasn't been young or innocent in a very long time, or he might have understood that the tragedy of it was that the well-meaning young characters actually thought they COULD make a difference by putting up posters and holding a rave for peace. If only it was that easy. But the cynics sit and sneer at people who earnestly try their best to make things better, as the situation gets worse and worse every single day. Well, if you're not part of the solution, you're part of the problem.<br /><br />The central theme is that revenge begets more revenge, which begets even more, in an ever-expanding bloodbath. Both sides will tell you tales of atrocities committed by the other side, which they think justify their committing even MORE in retaliation. Where does it end? And apparently he missed the significance of "the bubble" referred to in the name, which was that people living in Tel Aviv are strangely cut off from the ugly realities of what is going on all around them, which is partly why they seemed so naive. (He also seemed to think that Ashraf could slip through the checkpoints without a problem, which tells me he wasn't paying attention when Ashraf related the delays and problems he had encountered.) <br /><br />I found it very brave of the director, the screenplay writer, and both star-crossed lovers, to update the Romeo & Juliet story to a modern troubled land, and to make both lovers male. Let's be honest here: Very few people would have a problem if one of them had been a female (young love wins all hearts) -- but when people's uneasiness with their sexuality is added to the fact that, incredibly, these same people would rather have them HATE each other, then the conclusion is inevitable. | 1pos
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Eytan Fox did it again : move the viewer's heart in a modest story taking place in an overwhelming mess. The movie also succeeds in describing so perfectly and subtly the atmosphere of the incredible city that is Tel Aviv.<br /><br />I was there a month ago and it is all there : the lifestyle, the relationships, the heart-beating city, the mess, the chock of utopian mindsets in the most light-hearted, blithe and oblivious megalopolis ever.<br /><br />Strongly recommend: it is a voyage for the heart and the mind, with an interesting perspective to the Israelo-Palestinian conflict.<br /><br />Nota Bene: There is central gay plot in the movie. If you do not think you are too gay-friendly, be prepared to be challenged and finally see it as "just love". (and don't worry: the chick is hot too!) | 1pos
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It's one of the best movies I've seen in the last 2 years (I've seen the premier in Tel-Aviv, Israel in the summer of 2006, exactly when the last war has began...) This problem in communication between the people, that causes wars, is interesting me for a long time, and it doesn't matter who- boys and girls, straight and gays, Jews and Arabs... I've seen the Bubble already 3 times, and it still surprising and exciting me- each character reminds me of one of the many people i know, and the difference between them, like between Tel Aviv and Jerusalem... The last time i saw it- was with my friend, who is a Christian Arab, and it was on the independence day of Israel ( the most symbolic i could ! how ironic) and... he cried in the end!!! - if he's been touched and wasn't embarrassed- everyone would be touched by The Bubble! | 1pos
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I got this one a few weeks ago and love it! It's modern, light but filled with true complexities of life. It questions and answers, just like other Eytan Fox movies. This is my favorite, along with Jossi & Jagger. This pictures a lot more, universally, than only the bubbles we may live in. You don't need to be Jewish or homosexual to enjoy this - I'm not, but the movie goes directly to my top ten movies. At first it seems like pure entertainment but it does make you think further. Relationships we have to live with are superficial, meaningful, deep, fatal, you name it. You don't know what's coming, and you definitely don't know where this story is heading as you watch it the first time. It is worth seeing several times. Fox movies include great bonus material - here a great music video and "the making of" (including explanation of the title, interviewing Lior Ashknenazi who plays himself in the movie and Arabs with doubts about the Israeli life styles). | 1pos
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I saw this movie when I was in Israel for the summer. my Hebrew is not fluent, so the subtitles were very useful, I didn't feel lost at any point in the movie. You tend to get used to subtitles after about 5 minutes.<br /><br />This movie blew me away!!!!!! It depicts two of the most prominent taboos in the middle east today: A homosexual relationship between an Israeli and a Palestinian. It allows a person to enter both realms of the conflict simultaneously. The dilemma, the emotions entailed. The movie climaxes in tragedy when anger and rage drive one of the lovers to one extremist side! an absolute must see!! | 1pos
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The Israeli/Palestinian conflict persists and while the world may be aware of the violence surrounding the division of the two countries, few have a clue to the other aspect of the division - the group of people who want peace and work toward eradicating the separation. Eytan Fox, in THE BUBBLE ('Ha-Buah'), has created a much needed alternative viewpoint of the schism, electing to tell a story that contains some fine humor, a lot of love, and a taste of brutal reality. It is a window into a situation that begs for understanding.<br /><br />In Tel Aviv three close friends are roommates: Lulu (Daniela Virtzer), a beautiful young woman with strong opinions; Yali (Alon Friedman), a very 'out' gay young man who works in a popular café; and Noam (Ohad Knoller), a handsome, somewhat shy fellow who, in addition to his day job in a music shop, is a member of the National Guard and therefore spends his free time serving as a guard at the city's checkpoints. It is during one of these guard duty weekends that he meets a young Palestinian named Ashraf (Yousef 'Joe' Sweid), and a mutual attraction occurs. The three friends decide to 'stowaway' the illegally present Ashraf (whom they nickname with an Israeli name) and while Ashraf and Noam settle into a love relationship, Yali hires Ashraf at his café, and Yali and Lulu both proceed to find love interests, too. All goes well until Ashraf must return home for his sister's wedding. Though in Tel Aviv Ashraf has been able to be openly gay with Noam, life is far different in Jerusalem: Ashraf is told he must marry his sister's groom-to-be sister. In an attempt to rescue Ashraf from his fate, Noam and Lulu disguise themselves as French reporters to gain access to Ashraf. In a moment of supposed seclusion, Noam and Ashraf are discovered kissing by the groom-to-be, and this act gives cause for blackmail in order for Ashraf to remain 'in the closet'.<br /><br />While the young people in Tel Aviv are dancing at an event to raise attention for peaceful coexistence, an attack occurs in Jerusalem - one that has grave consequences not only immediately, but also in the revenge mission Ashraf must now assume. The ending is tragic on many levels and it underlines just how serious the problem between these two countries is.<br /><br />The acting is so very natural that from both the comedic and the tragic aspects the audience completely believes in these beautiful young people. The story finds the right balance between the serious and the lighthearted and it is this balance than makes Eytan Fox such a fine writer/director. More people should watch this important and very fine film. In Hebrew, Arabic, and English with subtitles. Grady Harp | 1pos
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Since the advent of literature, people of all nationalities have been fascinated and easily touched by accounts of unhappy love. Even more fascinating have always been the tales of impossible love, love that cannot be. The Israeli filmmaker Eytan Fox' latest film The Bubble" is about that. And then it is also not. The title of the film refers to the bubble" that is Tel-Aviv set against the background of the political realities of Israel. The country's cosmopolitan and unofficial capital city doesn't have much in common with Nablus, a city in the Palestinian West Bank which also features in the film. It doesn't have much in common with the tense and hateful atmosphere at the Palestinian checkpoints. Actually, it doesn't seem to have much in common with anything surrounding it. The bubble" of Tel-Aviv allows people to have a lifestyle which isn't much different from what you may expect in any Western city. Teenage girls looking for Britney Spears' records, a lifestyle magazine editor looking for a sexy cover for his next issue, trendy people sitting in trendy cafes discussing trendy things over cups of cappuccino and other similarly trendy drinks, while those at home are watching the local edition of Pop Idol. It is this bubble" that also has the potential to lull one's mind into a false sense of reality.<br /><br />The film evolves around the lives of three young Israelis who share a flat and, for the most part, try to stay out of politics. Yelli, the camp owner and manager of Orna & Ella", a hip cafe, rarely leaves the city and prefers not to think about the crap that surrounds them". Noam, a soft and easygoing employee of a slightly avantguard record store, seems to be equally unwilling to engage in long political discussions and contemplations. Lulu, the only female of the lot, is on the contrary linked to the Israeli Left, although her political activities seem to be confined to raves against the occupation". Yelli and Noam naturally don't object to participating in these. Lulu and her political friends make t-shirts with the rave's logo, put up posters and hand out booklets advertising it in the neighbourhood. Their main concern seems to be that there are never any actual Palestinians participating and that the police might come and spoil all the fun for them again. The closest they come to an actual confrontation is when they get into a scuffle with some not so Palestinian-friendly locals who try to prevent them from handing out the leaflets. In other words, predictable products of the bubble".<br /><br />The opening scenes of the film take us to a checkpoint on a road to Nablus where we also find Noam doing his reserve duty. A group of Palestinians is being thoroughly checked before entering Israel, among them a pregnant woman who suddenly goes into labour and gives birth to a stillborn child despite the best efforts from Noam and the doctor who eventually arrives in an ambulance. The woman is comforted by a young man who later turns up on Noam's doorstep in Tel-Aviv with his ID which the latter obviously dropped during the ordeal on the border. His name is Ashraf, he's Palestinian and he's gay. And he hasn't just come to hand back the ID, he has come to see Noam. Without a permit to live in Israel and despite the initial hesitation from Noam's flatmates he stays. He soon gets a Jewish name and a job at Yelli's cafe. Having grown up in Jerusalem with Hebrew, he doesn't have an Arabic accent which makes it possible for him and his newly found friends to conceal his identity. The sky is light blue and the air is sweet. But it cannot last. For he has become part of an equation which was never meant to be.<br /><br />At one point, Noam and Ashraf watch a play called Bent about two prisoners in a Nazi concentration camp who have a love relationship which can never become physical or visible to the surrounding guards. They find a way of being together on another level, a metaphysical one, a level where no one else has access. This is also where our couple arrives in the end. And it couldn't have been much different for them, not in today's Israel.<br /><br />The Bubble" is a political statement about the bubble that bursts when confronted with the political realities of today's Israel set against the background of a beautiful and awkward love story involving an Israeli and a Palestinian, the impossible love story in a divided world where no such things as compromise or other colours than black and white exist. The Bubble" is also a beautiful film about people, gay and straight, inhabiting that strange city, Tel-Aviv, shown through the eyes of people who really care about them. The film's premise may have its flaws and the fatal chain of events may seem somewhat construed, but its strong message and emotional impact will not leave you untouched. | 1pos
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It's difficult to not have a liking for Israeli director Eytan Fox and for his movies, which describe the life in the middle east and the inherent problems gay people can have in these regions. Besides he also gave voice to the young generations, and to the remarkable part of them, who really need PEACE and who want to take no further notice of a war that for too much time marked the existences of people, both in Israel both in Palestine. These reasons, in my opinion, are sufficient to consider Fox a noteworthy director, even when his feeling for the melodrama is a tad out of control. However the fans of his movies (that he realized on team with Gal Uchovsky, his producer, co-screenwriter and also life companion) seem to not being vexed by this, since his new feature, THE BUBBLE (HA-BUAH), is having the same success of the previous YOSSI & JAGGER and WALK ON THE WATER. Announced as a contemporary gay version of "Romeo & Juliet", set in the present day Tel Aviv instead of Verona and with two men (one Israeli and the other Palestinian) at the place of the two Shakespearean young lovers, the film actually is quite different from that or, better, it's also something else. In fact the bubble of the title is the world apart in which the leading man, Noam, played by the Fox regular Ohad Knoller (Yossi in YOSSI & JAGGER, but I must confess I miss Jagger, the astonishing Yehuda Levi!) and his two co-tenants, a guy and a girl, chose to live. Around thirty-years-old, restless, witty and firm (despite the protagonist just spent a period as national service in a checkpoint on the frontier with the Palestine) to live a life that won't be only made of war. The two guys are gay and along with the girl they have established a trio in which they brotherly love and support each other. Their lives are destined to change when Noam falls in love with Ashraf (the TV star Yousef 'Joe' Sweid) a young Palestinian who came to live in Tel Aviv. The laws so far in force among the group are neglected, but not the will to aid one friend. Still it won't be easy for Noam and his friends, 'cause Ashraf is clandestine in Israel and in the meantime his family, who lives in Palestine and doesn't know he's gay, is looking forward to settle his wedding with a very beautiful girl, who is a relative of Ashraf's beloved sister bridegroom-to-be, who he is also a terrorist and he will have a strong liability in the development of the plot, with consequences not just for the two men. Because the prejudices against the homosexuality and the peace (interesting dualism, if not automatic) are stubborn and so the tragedy is unavoidable. Even if the film focus on the obstacles the relationship between Noam and Ashraf meets with, it doesn't the overlook the other characters, which turn out well written (for example Golan, the boyfriend of Yelli, Noam's fellow tenant, introduced as a lively boor, and then disclosed as a sweeter and more open minded person) and aptly performed (besides the two leads, we mustn't disregard the funny Zohar Liba and the lovely Daniela Virtzer, the girl of the gang; moreover LATE MARRIAGE's star Lior Ashkenazi appears as himself in a cameo). It also melds the gloomy tones with the more brilliant ones, even if the director can't do without a melodramatic conclusion. I watched this movie more than a month ago and in the meantime I often thought about it, proof that Fox and his pal have a knack to strike home. | 1pos
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This film is a complete re-imagining of Romeo and Juliet in Tel Aviv and Nablus. The lovers are one from Tel Aviv et the other from Nablus. There is a border between them, and a constant state of war with the Israeli army ever present everywhere and the Palestinian militants everywhere else with their bombs. The situation is bleak enough. We can imagine love in that enormous loveless trap. But the film goes several light years further by imagining the two lovers are gay, Noam from Tel Aviv and Ashraf from Nablus. To be gay is accepted in Tel Aviv. It is off limits in Nablus. The conflict between the two peoples, the two communities is thus doubled with a conflict between two cultures, two ethics. But this could even be livable if the war did not bring some extra dimension. Ashraf's sister is going to get married to a militant activist in Nablus. Ashraf finally tells his sister about his being gay. She cannot accept it but accepts to speak about it later. From the wedding itself the newly married husband sends a commando into Tel Aviv to set up a bomb attack. It takes place in a café in Tel Aviv and one friend of Noam's is severely wounded. Bad enough. The Isareli army sends a commando to Nablus to arrest the person responsible for this attack, but it turns sour and the newly married wife is shot dead in the street. The funeral follows the wedding. The husband and widower volunteers for a suicide bomb attack. Ashraf volunteers to take his place. The exiled lover comes back to Tel Aviv to die and kill a few people to avenge his sister. He arrives at a diner managed by some friends of Noam's. But Noam sees him and gets out to speak to him. Ashraf has moved back to the middle of the street and he detonates his bomb when Noam reaches him in the street. The vengeance reunites the two lovers in death. We thus have the dual conflict but we do not have the Prince of Verona, a neutral character that can impose peace, or even worse the Prince seems to have chosen sides and to be on the side of Israel. The game is entirely false and death is sure on both sides. But the dimension of impossible love is all the stronger because it is redoubled by a play in the film, a play that shows love in Auschwitz, between two prisoners, one wearing a yellow star and the other a pink triangle. This is both strikingly strong and breathtakingly shocking: gay love in Auschwitz. What comes out of the film is that over there in Tel Aviv or Nablus love is impossible. The film is thus a denunciation of the conflict in Palestine that cannot but continue though it has no reason to even exist though it has thousands of reasons to go on. We should never have let Great Britain deal with the region a long time ago. Today we have to find a solution in which no one will be humiliated. This will only be able to succeed if everyone comes together in order to find a lasting solution. But so far everyone is trying to avoid that general confrontation and discussion preferring bilateral manipulations. So suffering will go on and love will be forbidden, of course not sex since children are needed for the war to go on: so let's procreate more and more little soldiers. But love is just an extra-terrestrial concept.<br /><br />Dr Jacques COULARDEAU, University Paris Dauphine & University Paris 1 Pantheon Sorbonne | 1pos
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Here's one more beauty in the string of beautiful films directed by Eytan Fox. The movie presents the story of star-crossed lovers (one Israeli, one Palestinian)in modern Tel Aviv. The film's effectiveness comes not only from its depiction of cross-ethnic conflict, but of conflicts personal and political within ethnic groups as well. For example, there's a telling moment when one of the secondary characters, openly gay, is visited in the hospital by his boyfriend who brings him flowers and tries to kiss him in front of his visiting family, and suddenly we see a wave of awkward discomfort wash through the room. Clearly the young man is not as open as he seems, and the family not as accepting as he might want them to be, while the boyfriend is confused and rejected. A good deal of complexity is packed into a fleeting moment. As we know from Yossi & Jagger, Fox is a master at efficiently packing emotional and psychological complexity into brief sequences. The film is also effective for the even-handed way it presents the mutual brutalities that Israelies and Palestinians inflict on each other. If you're not heartless, you'll cry through the last third of the movie. Though the plot is melodramatic, it's so intelligently written and acted that it reminds us of how satisfying good melodrama can be. | 1pos
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Directed and co-written by Eytan Fox the writer/director of the highly acclaimed 2002 mini feature "Yossi & Jagger" (2002). This comparative epic, at 1hr 53 minutes, is another fine romantic drama in which we must deal with tragedy as well as celebrate the beauty and joy in life. Westerners, especially urban gay men like myself, need to be moved outside our safety zone and be informed of the real life and death struggle elsewhere to be able to love with equity.<br /><br />While "Yossi & Jagger" focused on a pair of gay lovers in the closeted confines of Israeli military service, "Ha Buah" is centred on a group of civilian friends, both straight and gay, who share a unit in the heart of Israel's generally gay-tolerant, but not always gay-friendly, capital Tel Aviv.<br /><br />"Ha Buah" opens with a dramatic border check point scene in which Noam (Ohad Knoller Yossi from "Yossi & Jagger") first meets handsome young Arab Ashraf (Yousef Sweid). Romance soon blooms but in that political climate opportunities would have to be seized quickly or lost altogether.<br /><br />From there we follow an intricate interplay among the members and lovers of the housemates and the unavoidable effect of Ashraf's very conservative family. If you follow this film's dialogue attentively enough then you will have no reason to be disappointed with the ending.<br /><br />The soundtrack for "Ha Buah" is vibrant and the visuals are both beautiful and stark i.e. real life in the Middle East.<br /><br />The English subtitles are very easy to follow and you quickly relax and appreciate world cinema at its best. | 1pos
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Movies like this one, and C.R.A.Z.Y., make me very sad for American films with a gay subject matter. With the exception of Parting Glances and Brokeback Mountain, there are few other notable American films with the kind of depth and sincerity as this movie, The Bubble. This movie centers on two men, Noam and Ashwar, an Israle and Palestinian respectively. Their relationship is complicated by the tension between the Jews and Arabs in Israel. Couples, in the early stages of their relationships will struggle with who will call who next, or who will say "I love you" first. Noam and Ashwar's early love is complicated by suicide bombings, armed security check points, and racism. While Noam's friends accept and like Ashwar, who is Arab, it is clear that most of Tel Aviv's citizens probably don't.<br /><br />One of the most touching moments, and there are many in this film, is when Noam and Ashwar attend a production of "Bent". We, as movie goers, see them watching this play, and the affect it has on the two of them is profoundly captured in their eyes. And ultimately, this touching moment is played out in a very sad way in the finale of the movie.<br /><br />Ohad Knoller and Youseff 'Joe' Sweid are outstanding as Noam and Ashwar. Director Eytan Fox is brilliant in creating a cogent and interesting retelling of the Shakespeare classic Romeo and Juliet. And while most movies today have sex in them, (almost as a sport), this one goes back to the old tried and true version of sex with love and passion combined. It is so refreshing. Also refreshing is seeing two gay men being portrayed as people and not cartoons. There are cartoonish characters in this movie. It just doesn't happen to be the two gay guys for a change. Somewhere on this site I think I read a comparison between this movie and "Friends". Well, not really. Yes, these are youthful characters stumbling through their first uneasy steps into adulthood and relationships. But I don't recall getting "blowed up" as a backdrop to the insipid story lines in "Friends".<br /><br />This is a very good movie. It has heart, and heartbreak. And like all good love stories love does win out. But not in it's intact glory of full bloom . Still, it's a very satisfying movie to watch. | 1pos
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This is the second Eytan Fox film I have seen. The fantastic actor, Lior Ashkenazi, who starred in Walk on Water, has a minor role in this film also.<br /><br />But the real stars are the young Israelis who live together in a tiny apartment - Noam (Ohad Knoller), Lulu (Daniela Virtzer), and Yelli (Alon Friedman); and the Palestinian that joins them off and on - Ashraf (Yousef 'Joe' Sweid). There is sort of a Friends/Sex in the City thing going on (mostly gay), and they all just want the war to end so they can go on with their lives in peace.<br /><br />But, that's the rub. No matter how many posters you put up or how many raves for peace you have, the war is not going to end. Many have tried over the years to bring the two sides to the table, but they just want to keep it going for whatever reason. There are many on the Israeli side, both there and here in the US, who just want it all and will not consider peace. There are many on the Palestinian side who apparently would be out of a job should peace ever come. It is in no one's interest to end this war, and the children suffer.<br /><br />This is always on your mind as you watch this funny and engaging film. It won't go away. You know something tragic is going to happen and, of course, it does. With the feelings on both sides running strong, and revenge as the motivator, tragedy always happens, and that is what makes this an adult version of Friends/Sex in the City. There is no superficiality. It is real life, and it was a beautiful thing to see. | 1pos
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My father was the warden of the prison (he is retired now) showcased in this documentary and I've grown up around the prison life, so perhaps my views will be totally different from everyone else who watches this movie. I will say this, the filmmakers who brought us this 93-minute miracle are fantastic artists and even better people. They were brave enough to A) Show up and tell this story, B) Get inside these inmates minds and hearts, and C) Do all of this responsibly. Responsible to their art and, more importantly, responsible to the inmates and staff of Luther Luckett Correctional Complex. They should be commended without end for this work. To take 170 hours, yes HOURS, of footage and be able to cut and whittle it down to 93 riveting minutes is nothing short of extraordinary and they have my utmost respect.<br /><br />I saw this film under circumstances that only a very, very few were able to see it. I was at the inmate screening. I was in the same room with these men as they watched their hearts being poured out on screen. I saw men crying on television crying in the chair in front of me and let me tell you, it was a very profound experience. These men have committed horrendous crimes in some cases, yet have found ways to try to redeem themselves, even if they view themselves as unredeemable. How many of us have the courage to do this? How many people could do what they have done in such a harsh environment? To see them react to the film was an experience I am eternally grateful for, and I will never forget that. I thank the men who allowed me this glimpse into their lives, I thank my father for making ALL of this possible, and I thank Philomath Films for taking the time to pour their blood, sweat, soul, and tears into this project.<br /><br />This movie will change everything you think you know about prison life, and the inmates held within it. 'Oz' is not real, television is not real. 'Shakespeare Behind Bars' is. | 1pos
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One of the best parts of Sundance is seeing movies that you would otherwise almost certainly miss. Unless you're a real art-house devotee, you probably don't catch many documentaries. Only a handful get any recognizable distribution. Fortunately, Sundance has increased its commitment to documentaries in recent years.<br /><br />Shakespeare Behind Bars is a powerful documentary about a dramatic production group at the Luther Luckett Correctional Complex in LaGrange, Kentucky. Every year a group of inmates present a Shakespearean play. Director Hank Rogerson and his crew follow the troupe as roles are self-selected, interpreted, rehearsed and ultimately performed.<br /><br />The movie is filled with fascinating revelations for those of us that have not been exposed to prison environments. Despite the labels we know them by (convict, felon, murderer, etc.) we soon began to appreciate and respect these men as thinking feeling human beings. Serendipitously, the play chosen for the year of filming was The Tempest, with its penetrating focus on forgiveness and redemption. The actors all grapple with the relevance of the play to their lives, finding patterns and parallels with their characters and the meaning of the drama.<br /><br />For a documentary film, like a book, the best that can be hoped for is that we experience something that changes our lives. Shakespeare Behind Bars was a personal revelation for me. "O brave new world, that has such creatures in it." | 1pos
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If you're going to put on a play within the prison walls why not go for the top playwright William Shakespeare? And if you are going to choose your cast from a whole lot of criminals serving long sentences for the most heinous crimes, you can be sure there will be plenty of time for rehearsals. In a Kentucky Correctional Prison a courageous project such as this was undertaken with amazing results. This film shows how it was all done
.the casting
.the rehearsals
.the set and costumes
and the final presentation of Shakespeare's play "The Tempest." It had not occurred to me before but there is an analogy between the setting of the play and the correctional prison. In the play the ship-wrecked characters are confined to an island with no contact with the outside world. Prison life too is much like that.<br /><br />With a simple painted back drop of a surrounding seascape, the characters in a most pleasing assortment of costumes bellow out their lines to an approving audience, may be not quite as Shakespeare intended but with good heart and true sincerity for sure.<br /><br />More interesting than the play itself were the little cameos of each man behind his character. One inmate saw the play as a lesson in forgiveness another as a redemption of his sins. It was quite moving to see the men wipe away a tear as they spoke of murder, shooting and strangulation. One had the feeling that they would all like to wind back the clock and reconsider their brutal actions. However (as someone said) the past was past, and the present was the beginning of a new future. At least the play gave temporary relief from the depressing thoughts of past events.<br /><br />The prison authorities should be applauded for allowing the play to take place. Such an event would put Kentucky on the map and hopefully other prisons might follow their good example. It seems to me that everyone stands to benefit
not only the Kentucky prison but the prisoners themselves who need to find new confidence and self esteem and be prepared for the day when they go out on parole. | 1pos
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Shakespeare Behind Bars was a strangely uplifting documentary despite its content. Convicts at Luther Luckett Correctional Complex in LaGrange, Kentucky who have raped, murdered etc
and surrounded by bad people in an obviously depressing environment find something they genuinely enjoy and can become important, popular and celebrated in acting. There are paralleled themes to 'Shawshank Redemption' with their institutionalised natures and search for forgives and redemption for their past lives. As we follow a generous, non judgemental Director, who gives up his time each year to Direct certain inmates in a chosen play by William Shakespeare (this time around, the 'Tempest', that was cleverly portrayed with the inmates who could relate to it so much with its penetrating focus on forgiveness and redemption in which they confide and relate to) we are introduced to each actor in formal interviews that are nicely paced with break up footage of them rehearsing. Each actor has their own story and tell of their regrets and reasons why they are there in emotional fashion with melancholic music over each in a traditional documentary sense. The strongest and most respected inmate (it would seem) is Sammie. The Director appears to immediately realise who the most interesting inmates were in Sammie (and later, Hal) and allows a longer, more in depth observation into the man and his personality. His presence is felt on screen and his personal revelations come as a shock to the audience, but give him such appeal in his emotional personality and a particular empathy is felt toward him. Hal is the same at the beginning of the film. He has other things that he does to pass the time that's shown as a comfortable hobby as it were in running an on site news broadcast programme. Again, through personal interviews and revelations self admitted by Hal (and nicely shot cutaways of Hal's body language, not the close-ups of his uncertain hand movement not only observed with him but others as well,) in particular his heart felt story about being unsure and scared of his true sexuality in a society that purely would not accept him as a homosexual until later on in the film where he is shown to be quite snide and rude to other inmates involved in the play as though he deems himself above all of them, in particular to Ron who already has a frustrating temperament in his acting. The relationship between all of the inmates involved in the play is shown as one of respect and unity to achieve something great for themselves. With nice (if not clichéd) motions of time passing by with titles etc
everything seems to go right in the first act, and then on the build up to the public performance, things predictably go wrong. An induction of one of the actors being transferred and his character being replaced by a younger, newer inmate gives the narrative a nice subplot into someone who promises big, but in the end disappoints all and does not live up to their expectation. One inmate in particular (Big-G) welcomes the new inmate actor (Rick) with an evident will to nurture him into their beloved practise and hopefully become a good role model. The film seems to capture each inmates passion so well with something the audience can relate to especially when Rick is put in the 'Hole' for getting new tattoos (something nicely hinted upon earlier in the film when the warden stops a random inmate in the yard and asks him when he got a tattoo that's on his arm and we learn it's a punishable offence in the facility) and Big-G's disappointment is understood deeply. A happy ending? It all looks great when they are performing successfully (even being invited to perform elsewhere) and a sense of real unity echoes around them, but in the end, the film brings everyone back down to earth that this is short lived and everything they ever had or wanted was and will always be taken away from them. It is back to prison to pay for their crimes and no matter what redemption they seek in acting these plays, they won't be free men, their proud performances and recognition is undermined by the fact that they are the lowest of the low criminals and a nice halt in the uplifting music that plays in a shot of a long corridor that coincides with the lights turning off and doors shutting is a powerful image of their oppression. The Director seemed to be aware he was watching likable people in the documentary by given additional information at the end of the film into each actors future from the end of the film about where they are and what's happening to them now. | 1pos
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Shakespeare Behind Bars was the most surprising and delightful film I've seen all year. It's about a prison program, somewhere in California if I recall correctly, where the inmates have rehearsed and performed a different Shakespeare play every year for the past 14 years. The film follows their production of "The Tempest" from casting through performance, and in the process we learn some pretty amazing things about these men, who are all in for the most serious of crimes. Truth is indeed stranger than fiction -- if anyone tried to adapt this story into a fiction film, the audience would never buy it, but knowing that it's real makes it breathtaking to watch -- literally; I gasped out loud when I learned of one particularly gifted felon's crime. It's like some loopy episode of Oz, and all the more entertaining because the characters and their bizarre stories are real. | 1pos
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Believe it or not, Inspector Gadget's Last Case is what got me hooked on the whole Gadget thing.<br /><br />My name is Miriam and I am twelve years old, so obviously I wasn't around when Inspector Gadget was at the top of his career. Sure, I'd heard of him, but I didn't really know him.<br /><br />While reading, note that I NEVER SAW THE ORIGINAL SERIES (I would if it came on!). This is just about the only Gadget thing I've ever watched (even though I am now obsessed) and I will be focusing on what I liked about it since everyone else is so negative. For all you pessimists, I've got some cons down there, too. =P First off, for a childish sense of humor, you could deem this movie pretty funny. I thought it was, so sue me. I also thought the animation and character designs were good, and I'm also happy there was more Gadget in it, since he's my favorite character. (I do NOT like Penny.) Then there was Claw (his voice was awful, though) and the Madcat; I thought they were done fairly good too. Gadget's idiocy seemed pretty well in place, if not a bit exaggerated (i.e. sucking his hat-hand thing's thumb. Would make a good screen shot, though. =P) Oh, and I liked the song that ran in the credits. Yes, I am strange.<br /><br />And, like all movies, there are some negatives, too.<br /><br />Talking cars? What's up with that? You can tell this was aimed at younger boys. That wouldn't bother me quite so much if there wasn't the fact that the cars basically saved the day. I would have much preferred if Penny and Brain had taken their place. And, apparently, Gadget loved his car more than would be called natural. A bit weird, to say the least.<br /><br />Oh, and the Chief was downright mean to Gadget. I mean, sheesh, yeah, he wasn't always the most cheerful of people, but he didn't HATE Gadget, from what I've read. Like the Inspector, his personality was exaggerated.<br /><br />Well, that's pretty much all I have to say about this movie. I thought the animation made up for the car-centered plot and that it was overall pretty decent; more so than the live-action Gadget films (butchered, butchered, BUTCHERED!) at least. Maybe I'm just biased because this is what got me into Gadget in the first place, or maybe my mind is twisted, or maybe I'm just odd, but I really liked this movie, even if I'm the oldest it's recommended for. | 1pos
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Despite its rather salacious title, this is a light teen dramedy. Unless you're an old coot, you'll probably find it likeable. It isn't so good on developing characters or situations smoothly, though. When you view it, you get the feeling that you've been running back and forth to the kitchen even if you've been sitting down watching the whole time. This is one of those films that counts a great deal on your liking the characters, and they are appealing enough. Jennifer Connelly is the heartthrob of many, I know, but I've always liked the more obscure Maddie Corman. The teens get most of the screen time without a lot of intrusions from those pesky grown-ups. Is it just me or did most of the young males look an awful lot alike? | 1pos
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I originally came across Linda Feferman's Seven Minutes in Heaven when I was 14 and worked at a video store and I loved it. I recently watched the movie again and have realized that it is a lost treasure. The movie stars Jennifer Connelly, almost twenty years before she would go on to win an Oscar for Beautiful Mind, as Natalie Becker. Byron Thames plays her best friend in the world, Jeff Moran. The film is definitely a milder, cuter and softer version of the Pretty in Pink's and Some Kind of Wonderful's of the 1980's, which is exactly why it is so good. It's honest, not forced like those films, and parents will enjoy watching this movie with there kids.<br /><br />When Natalie's Dad leave home on a business trip, Jeff convinces her that he should move in because his home life sucks. With support from Natalie's friend, Polly, played exquisitely by Maddie Corman, she lets him. But this movie isn't about putting kids in situations and seeing what they can get away with. The three leads are so natural and the script, surprisingly so honest, that what comes through best in their performances is heart breaking. These characters really do care about each other. It's a great film to show to kids who are reaching pre-teen adolescence.<br /><br /> | 1pos
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Considering all the teen films like "the Breakfast Club" and "Pretty In Pink" that are lionized. It is surprising that this one is so ignored.<br /><br />There is no sex in it, but sex is thought of, including the idea that it may matter what others think about it. The kids do not always get along with their parents, but neither the parents or the kids are seen as always right or wrong, and the parents are not seen as monsters.<br /><br />It deals with hero-worship. How one girl does a dangerous thing, which could have lead to real dustier, before realizing that she was wrong.<br /><br />The movie is kind of ahead of its' time. One kid asks another kid what birth control she uses. She says she is doing nothing to need birth control. She replies (wrongly) "oral sex". | 1pos
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This movie rocks" Jen sexy as ever and Polly wow were we really ever that young this movie can still touch the hearts of a lot of teens it needs to be put on DVD soon or it will become a classic. i Really enjoyed growing up to this movie i have always had a crush on Jen now i am too old but to this movie is made for all gens> you know i come from the early 80,s area were i Had to watch everyone els live the life i wanted but thru movies i can do that all over again i guess in short i am hoping and wishing that this movie not be lost in time but reborn to the youth so they may enjoy the heart warm filling you get learning about hormones and datting problems and how to get away with stuff that seems so major back then but don't mean nothan now so this movie is a dating tool. | 1pos
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First off, I'm a huge fan of 80s movies, and of Jennifer Conelly as well. So yesterday, I wandered into a local used book/movie store and found a VHS copy. I read the back and it sounded good and for $3.99, it was a good deal. So I took it home and popped it in the VCR. What a sweet movie! At my age now, I relate more to movies like About Last Night or St. Elmo's Fire, but still I remember what it was like to be 15/16 and in love with an older guy, etc. We all have those little crushes when we're younger. And if it doesn't work out, we're heartbroken and we think that we'll never get over it. But of course we do. Many times. It's that sort of sweet quality that I really got from this movie. The feeling of "Oooh! I remember when something like that happened to me..." is all through it. The characters are interesting and well-developed. I recommend it to anyone who likes 80s movies, teen films in particular, or to anyone who just wants to go back and remember a simpler time in their lives. | 1pos
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I really enjoyed this movie.I was fifteen when this movie came out and I could relate. This will be a movie I would show my kids to let them know, the feelings they are having are normal. It is funny to see how we could be so devestated by things at such a young age..who knew that we would bounce back....again and again....Great movie!!!! | 1pos
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I've been a Jennifer Connelly fan since Phenomena, and after I heard about seven minutes in heaven, I saw it as soon as I could. The movie is not only a comedy if you think a lot of these things most of us went through as kids and are currently going through not only was the movie terrific led by the phenomenal jennifer connelly it captivated my attention that this movie was terrifically written directed and acted out it was one good deal I loved it and have watched it again and again and for those of you who enjoy a good laugh or love jennifer connelly you to can not put off seeing this movie!!!! | 1pos
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The title of this film is taken from a party game called "Seven Minutes in Heaven." The game was popular among my husband's friends when he was in junior high school in Brooklyn, NY, and he describes it as something like "Spin-the-Bottle," "Lifesaver Relay," and other preteen kissing games. According to the rules, a boy's name and a girl's would be drawn, and the chosen ones ordered to get into a dark closet together and to stay there for seven minutes. In the meantime, there would be speculation among party guests as to whether or not the two had the nerve to hold hands, embrace, and/or kiss each other in the privacy of the closet. At the end of seven minutes, the game leader would say, "Time's up" or knock on the closet door, and the couple would emerge from the closet. After being quizzed by the other guests, the couple would have to admit what they had done during their "Seven Minutes in Heaven." Then other couples would be chosen to enter the closet until all the guests had participated. The couple who admitted to doing the most would be the winners of the game.<br /><br />Such games have served as social "ice-breakers" for children and teens, but they can be embarrassing and intimidating to shy individuals. The film has been given this title because it deals with the teens' first experiences with crushes and romantic love. | 1pos
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I think that people are under estimating this incredible film. People are seeing it as a typical horror movie that is set out to scare us and prevent us from getting some sleep. Which if it was trying to do then it would deservedly get a 1/10 but i viewed this film with a few friends and we found it very entertaining and though it was a good movie after all it does have Stephanie beaton. This is the reason why i think that it deserves the 10/10 for the pure entertainment of the film.<br /><br />The general view on this movie is that it has bad acting, a simple script that a 10 year old could produce and that it cant be taken seriously and people are rating it low because of this. But i see this as a thoroughly entertaining masterpiece...that has a hilariously funny script which is made even more entertaining by the actors and although not very serious it is very entertaining. | 1pos
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This movie is ridiculous! That's exactly what I like about this piece of "Guilty Pleasure". It is easy to condemn this movie for not including Pat Priest and Butch Patrick, the original Marilyn and Eddie. But look at the year and do the math. Pat Priest and Butch Patrick had long outgrown their parts! Time does that to young stars. Yvonne De Carlo, who re-prised her role as Lili, was pushing the Big 6-0 (even though she still looked good and was still the perfect "Lili").<br /><br />It's a shame that Yvonne De Carlo wasn't given a larger part. Still, it was good to see Fred Gwynne and Al Lewis in the roles that made them so famous! During the 2 seasons that THE MUNSTERS was on prime time, it was the Gwynne/Lewis chemistry that made the series such a success. The rest of the cast were supporting cast members, not to say that they weren't needed. They were! The TV series wouldn't had survived as long as it did without them. Given the choice between Butch Patrick or Happy Derman (the original "Eddie"), the choice was too easy. Yvonne De Carlo was also the better choice over Joan Marshall.<br /><br />Though this movie doesn't measure up to the original TV series, it still measures up nicely and is one of the better "reunuin" TV specials that plagued the boob-tube during the late 1970s/early 1980s.<br /><br />' | 1pos
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This movie has one of the cheesiest plots I have seen. For me, that's what makes it so awesome! Fred Gwynne and Al Lewis are very good at what they achieved in the original Munsters series. While there was less slapstick, they still worked wonderfully together "comedically." I wish Yvonne De Carlo, as Lily, would have had more plot involvement. She showed that she could do comedy in the original series, but it was mostly wasted in this movie. This movie also stars the great Sid Caesar, but sadly he doesn't have any interaction with Gwynne and Lewis. I think some better work could have come out of that. | 1pos
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Fred Gwynne, Al Lewis, Sid Caesar, and Yvonne De Carlo star in this funny, funny movie. The late Fred Gwynne is truly wonderful as Herman Munster who lives with Grandpa Munster (Al Lewis), wife Lily (Yvonne De Carlo), and his son and daughter. Sid Caesar is hilarious as the owner of a wax museum that has a whole section dedicated to the Munster family. When the wax figures of Herman and Grandpa begin to terrorize the town everyone blames the two. The two now have to clear their names before it's too late. You'll laugh out loud just like I did. | 1pos
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Version: Universal / Hong Kong Legends R4 DVD release. Cantonese / English subtitles<br /><br />Once upon a time, five years ago, the world was obsessed with 'The Matrix', and I was perhaps one of the few fifteen year olds left who still believed that 'Terminator' was better than 'Matrix'. I was but a simple teenage boy, looking for a good action movie, and then there was a shining light on a TV station I had never really watched, a little station known as SBS. One night I noticed in the TV guide that a movie starring Jackie Chan - 'Police Story' would be on later. Being fifteen, and having only seen 'Rumble in the Bronx' and 'Rush Hour', I said... "WOW AWESOME" and sat down to watch it, and continually shouted "WOW AWESOME" as the movie progressed. Two weeks later, after SBS had shown the 'Police Story' trilogy, I knew I had found my new favourite actor.<br /><br />Jackie plays Chan Ka Kui, a Hong Kong cop who busts a major drug-lord, Chu (Yuen Chor). Chu's secretary, Selina Fong (Brigitte Lin), is being held by the police as a witness against Chu, and Chan is assigned to protect her. Things go bad - reaaaal bad - when Chu's case is dismissed and he decides he wants Fong and Chan dead.<br /><br />'Police Story' is one of the greatest action movies ever, and certainly one of my favourite Jackie Chan films. It starts off strong, and ends with one of the most incredible action sequences ever filmed. Everything in between is great. However, some of the funny parts may seem a little tasteless to more than a few people...<br /><br />As a story, this is still one of Jackie's better efforts. For an action movie, the story is pretty good, and Jackie is a much better actor in this than he is in the acting & plot intensive 'New Police Story'. This isn't 'Miracles', but maybe that's a good thing.<br /><br />'Police Story' is one of Jackie's finest works. It got me hooked on Jackie Chan movies, and should provide a nice start for any potential Jackie fans. The bad news for anyone who sees this first is that Jackie Chan movies don't come much better - 10/10 | 1pos
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A winters day, 28th December 1986, two bored 14 year olds hire a movie. "Hmmmm, Police Story, looks interesting", "who is this Jackie Chan?", "never heard of him". Two hours later after watching the film, in a daze, we wanted to know more. 16 years later (and severely out of pocket from collecting JC movies!) the film still grabs me like no other. Ok, maybe I have a soft spot for it as it was my "first" (Cannonball Run doesn't count!!) JC movie, but it is an excellent movie. It has all the classic JC elements, Action, Humour, Action, Heart and ACTION! Some comments say it's dated, it was made in 1985, of course it's dated! But then so must Jaws, Casablanca, Singin' in the Rain and The Godfather!!!!!! Without movies like Police Story where would Hollywood action be today? PS set standards, many a scene has been stolen for use in other movies. To really fully appreciate it you must see it in widescreen, you miss so much of the movie otherwise (yes, he really does fall off the bus going round the corner!). If you haven't already, SEE THIS MOVIE NOW!!!!<br /><br /> | 1pos
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Probably Jackie Chan's best film in the 1980s, and the one that put him on the map. The scale of this self-directed police drama is evident from the opening and closing scenes, during which a squatters' village and shopping mall are demolished. There are, clearly, differences between the original Chinese and dubbed English versions, with many of the jokes failing to make their way into the latter. The latter is also hampered by stars who sound nothing like their Chinese originals. In fact, the only thing the dubbing has corrected is the court trialat the time, trials in colonial Hong Kong were conducted in English, while the original has this scene in Cantonese!<br /><br />Nonetheless, Chan's fighting style and the martial arts choreography inject humour where possible, so non-Cantonese audiences don't miss much. It's not, after all, the dialogue that makes a Chan flick, but the action and the painful out-takes. The story is easy to follow: Chan plays an incorruptible Hong Kong detective pursuing a gangland godfather (Cho Yeun), and assigned to protect a star witness (Brigitte Lin). The action is superb from beginning to end, and there's not much time to breathe in between. It'll never get you thinking, but what an entertaining, and well strung-together, film. Arguably, this is one of the best martial arts films out there. | 1pos
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Jackie Chan is considered by many film and martial arts movie fans as one of the greatest action stars ever to grace the silver screen and Police Story cemented his reputation as the likely successor to the late, great Bruce Lee. If Enter The Dragon bared the so-called bench mark of Lee's greatness in the 70s, then the same can be said about Police Story and Jackie Chan in the 80s.<br /><br />Forget about the Rush Hour trilogy, or any of his US efforts- the one film that really typifies Chan's excellence, not to mention kick starting his status as a high kicking, bone-crushing kung- fu talisman, as well as his movie career was this, Police Story- the first in a series of successful cop films, set in mainland, present day Hong Kong.<br /><br />I've seen many of his efforts- likewise the US-based Rush Hour, Rumble in the Bronx, The Medalian and The Tuxedo to name- and frankly many of them pale into insignificance compared to Police Story. In those movies, we saw a less 'dumbed down' version of Jackie, of whom didn't get the opportunity to utilise his fighting abilities to the maximum, not to mention the fight sequences were no where as good as those in such efforts as Drunken Master, Police Story to name. <br /><br />The stunts in this movie are extraordinary and are the best featured in any action movie. The shopping mall scene is literally one of a kind and has to be seen to be believed: the flying shards of glass, Chan who is left dangling outside the bus only by his walking stick as a madman frantically drives through the streets of the town, and Chan successfully making usage of all sorts of inanimate objects and prop devices as weapons to fight the bad guys with. <br /><br />Considering he is known for injuring and breaking every bone in his body and putting himself in harm's way, Jackie's persistence in showing his versatility as a stuntman himself by not relying on one, is somewhat of a testament to his reputation as a kung fu expert. Especially as he has the bruises to show for it. Thus, he has proved that he is no one-trick pony when it comes down to devising and coming up with various and clever looking moves.<br /><br />Story-wise, there is not much to discuss but what it lacks in narrative, it makes up with its end-to end action and fight sequences. As for the dialogue, well it's not a really huge aspect of the film- which is why most fans of Jackie's and martial arts films are more interested in action, as opposed to the story.<br /><br />Unlike say The Matrix, there are no wires or CGI, or any form of computer trickery involved. What you see is what you get- and what you get with Police Story is a great Jackie Chan epic, full of action and pulsating stunts.It is miles better than Rumble In The Bronx, Rush Hour and all his other American efforts.<br /><br />Police Story is an excellent film and one I'd definitely recommend to anyone who is a novice Jackie Chan fan, but of whom are unsure which one they should watch first. | 1pos
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Back when musicals weren't showcases for choreographers, we had wonderful movies such as this one.<br /><br />Being a big fan of both Wodehouse and Fred Astaire I was delighted to finally see this movie. Not quite a blend of Wodehouse and Hollywood, but close enough. Some of the American vaudeville humour, the slapstick not the witty banter, clash with Wodehouse's British sense of humour. But on the whole, the American style banter makes the American characters seem real rather than cardboard caricatures.<br /><br />Some inventive staging for the dance numbers, including the wonderful fairground with revolving floors and funhouse mirrors, more than make up for the lack of a Busby Berkley over the top dance number. They seem a lot more realistic, if you could ever imagine people starting to sing and dance as realistic.<br /><br />The lack of Ginger Rogers and Eric Blore don't hurt the movie, instead they allow different character dynamics to emerge. It's also nice not to have a wise cracking, headstrong love interest. Instead we have a gentle headstrong love interest, far more in keeping with Wodehouses' young aristocratic females. | 1pos
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This musical is decidedly mixed, and none of the elements really fit together, but it somehow manages to be mostly enjoyable. The plot contains some of the elements of Wodehouse's novel, but none of its virtues, though he co-wrote the script. The songs, though charming, have nothing to do with this particular film, and are unusually crudely squeezed into the plot, even by pre-Oklahoma standards. Burns and Allen do their usual shtick quite competently, but it misses the tone of the rest of the film by about forty IQ points.<br /><br />There are a few high points. Reginald Gardiner does good work when he remembers that this is a talkie, and stops mugging like a silent actor. And there are a few bits of writing which could only have been written by Wodehouse, though most of the film feels like the production of one of the Hollywood meetings he later parodied. | 1pos
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Joan Fontaine is "A Damsel in Distress" in this 1937 musical starring Fred Astaire, George Burns, and Gracie Allen. The plot, what there is of it, is about a British woman (Fontaine) in love with an American, who is mistaken for Astaire, a musical comedy star.<br /><br />The film, directed by George Stevens, contains some wonderful Gershwin music, including "Nice Work if You Can Get It" and "A Foggy Day." The best scene is the "Stiff Upper Lip" number, which takes place in a fun house.<br /><br />Astaire's singing voice sounds more robust in this film than it does in others, and he has a couple of excellent dance numbers. Burns plays his over the top publicist and Allen is Burns' secretary. She's hilarious. The problem, as others have pointed out, is Fontaine, who has to dance with Astaire at the end of the film. Stevens could easily have used a double because he shows the dance in a long shot, and it takes place among the trees. I would have thought it was a double except the dancing was so lousy.<br /><br />Definitely worth seeing despite its flaws. | 1pos
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A Damsel in Distress is a delight because of the great Gershwin songs, Fred Astaire, Joan Fontaine, and a terrific supporting cast headed by Gracie Allen and George Burns.<br /><br />Typically silly plot for an Astaire film has him as an American dance star in England with Burns as his publicist and Allen his secretary. They concoct a story about his being a love bug with women falling victim to him left and right. He runs into Fontaine who is being held captive in her castle by a domineering aunt and docile father. Silly plot.<br /><br />The great songs include A Foggy Day, Things Are Looking Up, Nice Work if You Can get It, and I Can't Be Bothered Now. Fontaine does not sing, but does a brief (and decent) number with Astaire. Surprisingly good in a few dance numbers with Astaire are Burns and Allen, including an inventive and fun romp through an amusement park.<br /><br />Also in the cast are Reginald Gardiner, Constance Collier, Montagu Love, Harry Watson (as Albert), Ray Noble, and my favorite--Jan Duggan as the lead madrigal singer.<br /><br />Jan Duggan is in the middle of the swoony trio who sings Nice Work if You Can Get It. Her facial expressions are hilarious. She was also a scene stealer in the W.C. Fields comedy, The Old Fashioned Way, playing Cleopatra Pepperday.<br /><br />Much abuse has been heaped on this film because of the absence of Ginger Rogers, who, as noted elsewhere, would have been hideously miscast. The TCM host notes that Ruby Keeler and Jessie Matthews were considered. Yikes. Two more would-be disasters. Fontaine is fine as Alyce and the dynamic allows the musical numbers to belong to Astaire, with ample comic relief by Burns and Allen.<br /><br />Fun film, great songs, good cast, and Jan Duggan in a rare spotlight! | 1pos
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I read that Jessie Matthews was approached and turned down co-starring with Fred Astaire in Damsel in Distress. Jessie Matthews in her prime never left her side of the pond to do any American musical films. IF they had teamed for this film it would have been a once in a lifetime event.<br /><br />It's a pity because Damsel in Distress has everything else going for it. Fred Astaire, story and adapted to screen by author P.G. Wodehouse, Burns&Allen for comedy, and songs by the Gershwin Brothers. In answer to the question posed by the Nice Work If You Can Get It, there isn't much you could ask more for this film.<br /><br />Except a leading lady. Though Ginger Rogers made several films away from Fred Astaire, Damsel in Distress is the only film Astaire made without Rogers while they were a team. Young Joan Fontaine was cast in this opposite Astaire.<br /><br />Her character has none of the bite that Ginger Rogers's parts do in these films. All she basically has to do is act sweet and demure. She also doesn't contribute anything musically. And if I had to rate all the dancing partners of Fred Astaire, Joan Fontaine would come out at the bottom. The poor woman is just horrible in the Things Are Looking Up number. <br /><br />When she co-starred later on in a musical with Bing Crosby, The Emperor Waltz, it's no accident that Fontaine is given nothing musical to do.<br /><br />The version I have is a colorized one and in this case I think it actually did some good. The idyllic lush green English countryside of P.G. Wodehouse is really brought out in this VHS copy. Especially in that number I mentioned before with Astaire and Fontaine which does take place in the garden.<br /><br />Burns&Allen on the other hand as a couple of old vaudeville troopers complement Astaire in grand style in the Stiff Upper Lip number. The surreal fun-house sequence is marvelously staged.<br /><br />P.G. Wodehouse's aristocracy runs the gamut with Constance Collier at her haughty best and for once Montagu Love as Fontaine's father as a nice man on film.<br /><br />The biggest hit out of A Damsel in Distress is A Foggy Day maybe the best known song about the British capital city since London Bridge Is Falling Down. Done in the best simple elegant manner by Fred Astaire, it's one of those songs that will endure as long as London endures and even after.<br /><br />Overlooking the young and inexperienced Joan Fontaine, A Damsel in Distress rates as a classic, classic score, classic dancing, classic comedy. Who could ask for anything more? | 1pos
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Soon Americans would swarm over a darkened, damaged England preparing to invade Europe, but in 1937 the picture of hip Americans in the sunny, slightly ridiculous English countryside was an appealing, idyllic diversion. American dancing star & heartthrob Jerry Halliday (Astaire), on a European tour & weary of the screaming female crowds generated by the lurid propaganda of his manager (Burns), is unwittingly caught up in the marriage prospects of frustrated heiress Lady Alice Marshmorton (Fontaine). The tale is complicated by a betting pool among the Marshmorton servants that is run by (and rigged for) head butler Keggs (Gardiner), who's betting on Lady Alice's cousin Reggie (Noble), the favorite of Alice's stuffy, domineering aunt (Collier). The story would have been much better as a half-hour TV episode. The usual Wodehouse plot devices of mistaken identity and jumps to wrong conclusions wear thin in a full-length film. Both Alice & Jerry appear impossibly (and annoyingly) clueless by the second half of the film. The amusement park interlude & the climax in the castle are too long & begin to drag. Fontaine is too beautiful, too dignified & too quiet to be a ditzy blonde, no matter how aristocratic, while young footman Albert (Watson) is painfully awful. But while "Damsel" is a pretty diminutive vehicle for so much talent, the talent doesn't let us down. Astaire's romantic comedy skill is no less enjoyable here than in any of his films with Ginger Rogers and his dance scenes, both solo & with Burns & Allen, are up to par, though his one dance with novice hoofer Joan is necessarily tame. Gracie nearly steals the whole show as George's bubbly secretary who is at once airheaded, conniving & coolly self-confident. Her scene with solid character actor Gardiner as the devious snob Keggs is a one-of-a-kind classic. This & Astaire's priceless scene with the madrigal singers give "Damsel" a delightful color of naive but noble-spirited Americans mixing with noble but dull-spirited Englishmen. Gershwin is at the top of his game with "Nice Work if You Can Get it" & "Stiff Upper Lip," which carry the film through its weak points. And is there another film where madrigals get a Gershwin swing treatment? "Damsel" is more than a piece of trivia for those who might want to see Astaire without Rogers or Fontaine before she was a real star. It's a fine diversion as entertaining as any of the vaudevillian musical comedies that ruled the 1930s but will never be made again. | 1pos
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This movie appears to have designed as a Fred Astaire-Ginger Rogers film--the plot outline, dance numbers, zippy music and the entire formula is there...except for Ginger! Whether it REALLY was originally intended as a re-pairing of the team is uncertain but it sure has the look of one of these films. Instead of the usual sidekicks for Fred (such as Eric Blore or Edward Everett Horton), Burns and Allen are used--probably since despite being known as a comedy team, they COULD sing and dance quite well. This actually shocked me, but the team were a welcome addition and some of the traditional Fred and Ginger numbers were done with either Fred and Gracie or these two along with George. Only once, at the very end, does Ms. Fontaine dance with Fred but it's very brief and with a distant camera shot.<br /><br />And speaking of Burns and Allen, I think I owe it to the team to talk about them in the film. I have never been a fan of their show or their movies. In general, I find Gracie's idiot act very annoying and I have given some poor reviews to their movie shorts and full-length films. However, in this film I must admit that they were great--not only dancing competently but I actually thought they were funny and filled the hole left by Edward Everett Horton very nicely. They were on top of their game and the writers did a wonderful job in this department.<br /><br />Now as for the rest of the film, it's all a lot of fun and is entertaining. The problem for me, though, was that Joan Fontaine was not a particularly good choice for the movie--not just because she was acting outside her range (after all, she wasn't a singer or dancer), but because she had the screen presence of a ball of lint. Because of this, the usual balance and great boy-girl dialog was lacking. There was also a very charming performance by Harry Watson as a devilish little boy who did everything he could do to play cupid--all because he wanted to win a bet! And finally, I loved the Fun House and Tunnel of Love sequence--it is too hard to describe but is so much fun to watch! Overall, I did like the film quite a bit--it had a lot of charm and excellent writing. Unfortunately, it also featured a bland performance by Ms. Fontaine that knocks off a point--bringing my score for this film to 7. | 1pos
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I first saw this movie years ago and have continued to view it several times a year when I have an opportunity. It is on my list of favorite movies along with some of the classics. Should anyone tell you it is foolish or outdated, ignore them... this movie is for anyone who enjoys laughing and music. The dancing isn't as important in this film as in other Astaire movies so the comedy and acting shine through. See this movie if you can, it may be light but it is still completely amusing. So I know that many people hate black and white films, they think old movies can't really be funny, this movie should make them change their minds. No one I know can watch this movie without being at least mildly amused. The only problem with the film: Fred Astaire singing without dancing. He may be a great performer and capable singer but it just isn't fascinating and leaves a big hole in the middle of the story. The comedy gets a bit cliché at times but the vaudevillesque performances of G burns and G Allen are just perfect for the piece and can satisfy anyone looking for some easy laughs. Give this film a chance even if you don't like old movies, this movie can appeal to the ridiculous in any one. | 1pos
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The question of whether or not one likes this film version of "The Ghost Train" invariably depends on one thing and one thing alone: your reaction to the performance of Arthur Askey.<br /><br />He tends to steal almost every scene he's in, and not always in a good way. Sometimes you wish he'd settle down or back off just a little, to allow the plot's many characters to feature and develop (which they do to some extent). But somehow everything keeps pointing back to Askey's Tommy Gander character.<br /><br />Personally I like the film, and even like Askey to an extent. I always seem to plonk it into the vcr at those odd hours of the early morning when I can't sleep and really can't find the energy to watch anything else. There is something about watching old b/w movies in the quiet dark of pre-dawn that I find appealing.... | 1pos
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Curl up with this one on a dark and stormy night and prepare to be alternately amused, irritated and frightened. The creaky old plot about about a phantom train that's said to run through the lonely English countryside at dead of night may be implausible, but it's a lot of fun. There are some wonderful old cliches like "THE ACCIDENT" which the locals can remember but won't talk about. But primarily the movie's a vehicle for comedian Arthur Askey to showcase his particular brand of vaudeville style humour in between the scary bits. Askey's corny humor is not very trendy these days but if you just let it wash over you it can be fun. This is probably the best of Askey's movies. | 1pos
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I have a thing for old black and white movies of this kind, movies by Will Hay and Abbot & Costello especially as those are my favourites. I picked this movie up on DVD as it was using the same idea as Will Hay's "Oh Mr Porter" which is one of the finest comedies ever made. I just finished watching this movie less than ten minutes ago (the movie finished at 12:45am). I find that movies of this kind, to do with Ghost Trains, etc, are best viewed at night time with the lights out. That way you get into the storyline more and night time viewing works well with this movie.<br /><br />The one-liners in the movie may seem a little dated to some viewers, I guess this depends on the viewer. They are not dated to me though. I am 28 and even though I am not old enough to have been around when this movie was first released (my dad was though). I still have a lot of appreciation for some of the old movies of this kind. Sitting in the room in front of the TV with some snacks and drinks and kicking back and relaxing at night while watching these movies, not many things can beat the feeling you get while doing this. It is an escape from reality for a while.<br /><br />I noticed that one of the men in the movie (he has a black mustache) he appears about three quarters of the way through the movie after his car crashes and he is looking for a woman he was followed to the station. This man was in the Will Hay classic "The Ghost of St Michaels" as well. Just thought I'd point that out in case no one noticed :).<br /><br />The set pieces in the movie are very atmospheric. Outside the abandoned station looks good and as if there is not a soul for miles in any direction, and the inside of the station is very cosy looking away from the rain storm that is outside. I felt like I would have loved to have been there in the movie with the cast. The atmosphere in this movie is something that is missing from a lot of movies now. It keeps you hooked from the moment the movie starts till it finishes.<br /><br />We need more of this type of movie in todays market. But sadly it could be over looked in favour of movies with nudity and swearing and crude humour. This sort of movie making era (The Ghost Train, Oh Mr Porter, etc) to me is the golden age of cinema!. | 1pos
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Now this is one of Big's Best, Jack Hulbert's single role in 1931 split into two for the Band Waggon radio team Askey & Murdoch. It boasts a great stalwart cast, who ham the play up for all they're worth, especially Askey of course. Histrionics were provided by Linden Travers, melodramatics by Herbert Lomas, and pragmatics by Richard Murdoch.<br /><br />The group of rail passengers stranded at the lonely country station for the night find more than they bargained for, ghostly trains, spectral porters, hairy sausage rolls and Arthur trying to entertain them all. His repartee with everyone falls between side-splitting and ghastly dull. When the formula works it's very good, but it sometimes gets very contrived and forced making the film seem more dated than it is. But those damn treacherous fifth columnists - thank any God Britain hasn't got any nowadays!<br /><br />Ultimately a nice harmless film, to welcome back to the TV screen as an old friend, but if you were expecting to be shivered out of your timbers you'll probably be very disappointed! | 1pos
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Ghost Train is a fine and entertaining film, typical of the better British comedy chillers of the 1930s and 40s. The antics of comedian Arthur Askey are not as funny as they once apparently were, but this can be overcome by viewing him as a period piece or a curiosity.<br /><br />For a low-budget wartime production, Ghost Train is atmospheric, effective, and it provides some genuine suspense. Great fun for a dark (and, yes, stormy) night. Lighten up, take off the critic's hat, and enjoy. | 1pos
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So your bairns are away on a sleep-over ? The wife is visiting the mother in law? You though are at home. It's a dark and stormy night and there is no football on the telly and the dishwasher needs stacking? So now what are you going to do? <br /><br />I will tell you! <br /><br />Go make an old fashioned cocoa (Frys is best!)Get hold of some ginger nuts and sit down in front of the DVD. Now go select and play Arthur Askeys world war two thriller/horror The Ghost Train, return to that comfortable settee and enjoy the night in!<br /><br />The Ghost Train is a genuine British war time classic! Arthur Askey with his side kick,Stinker Murdoch, entertain you and I suspect the cast, to a high octane, thrills and spills, espionage thriller.It's set in old rural England during the second world war.<br /><br />It centres around a motley group of people that need to stay overnight, through circumstances outside any ones' control, in an old railway waiting room that they discover is haunted by an old train.<br /><br />The plot unfolds neatly and precisely and is a credit to the entire cast it is humorous in parts and at times genuinely scary! <br /><br />(The tale was written by that old boy Godfrey of Dads Army fame and it is clever )<br /><br />Arthur Askey is entertaining and is very at home preforming his routines to you and the cast, he also shows he can act a bit! The cast are never out staged though, even the railway porter and the parrot help give the film the necessary gravitas.<br /><br />Oh and when it ends please remember to stack the dish washer! | 1pos
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The Ghost Train is a treat to those who appreciate the typical 1940's humour. It incorporates World War Two into the plot but not as much as I initially believed it would, and the characters are a unique blend who play their roles fairly well. Askey, playing the role of Tommy Gander, is what brightens the story up for the parts which could of been portrayed as boring or "dragging".<br /><br />The story of the haunted station is actually spooky even for present day standards. It is unique and the way the characters communicate with each is fantastic to liven up the mystery which is The Ghost Train. Gander is basically a nuisance to all the other members while the rest get along fairly well. He is always centre of attention and can be dubbed as being "annoying" but that is by those who do not appreciate 1940's humour. His humour is innocent and childish which makes it sweet to watch.<br /><br />If it was not for Askey/Gander, than this film would of been shorter in action, enjoyment and the result would be not as effective in my opinion. | 1pos
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This was fun to watch, spookily atmospheric and effects were pretty good considering they were bang in the middle of World War Two. The plot did unravel pretty quickly at the end with the villains getting their comeuppance.<br /><br />It must have been a good one to watch at the local flea pit in the 1940's when they were facing the biggest threat to their liberty from the Nazis - well made with quite a serious message about the dangers to Britain from third columnists.<br /><br />But Arthur Askey was so annoying & unfunny you just wanted him to shut up - well at least I did ! I suppose different tastes in different times but the clowning around became tiresome. If he was playing an annoying little man as part of the script then he succeeded.<br /><br />A good watch and quite short at just over 80 minutes - a good background for older kids too so they have an idea of what train travel in austere times was like; uncomfortable slow, dirty trains, being thrown off for no reason, surly staff .... | 1pos
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This film is one of those nostalgia things with me and I never REALLY expect anyone else to "get it" but am pleased when I recommend it and somebody DOES enjoy it. My late father HATED Arthur Askey but this film was one he really enjoyed and his consistent enthusiasm for "The Ghost Train" and "Old Ted 'Olmes" transferred to me as a child. Years later, I watch it every now and again, enjoying the familiarity. I always wonder if it will not be quite the same but I am never disappointed in it. There is much to enjoy. The sequence on the train is truly inspired when Askey and Murdoch proceed to annoy the arrogant male passenger. Then the whole section in the station is amazing with so much going on you have to keep up. Yes, it is dated and full of wartime Britishness in accents and plot (based on the original play by Arnold Ridley of Dad's Army fame!) but full of wonderful character performances - including Kathleen Harrison as a dotty spinster. The atmosphere is truly as near sinister as an Arthur Askey vehicle could get. This is available cheap as chips in the UK on DVD so treat yourself. It is a perfect Saturday/Sunday morning or any day lazy afternoon lightweight piece of entertainment. I Thank You....<br /><br />OLD MOVIES CAN BE GOOD MOVIES! | 1pos
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This is a classic British comedy-thriller I had always wanted to check out but no opportunity had arisen for that until now. It's based on a popular stage play which had already been filmed a number of times previously (most notably in 1931 by the same director but, unfortunately, this version seems not to have survived in its entirety!); for the remake under review, the plot has been updated to the then-current wartime situation.<br /><br />Anyway, I was mainly familiar with early British comedians through the films of Will Hay: given that this one features a similar plot of legendary hauntings, smuggling and enemy agents, it's very much in that vein (it was actually scripted by Hay's regular writing team of Marriott Edgar, Val Guest and J.O.C. Orton); the stranded travelers element, then, was an equally tried-and-true formula. The star this time around is Arthur Askey (abetted by Richard Murdoch) - none of whose films I had watched before - who is as unlikely a hero as Hay himself and whose personality proves to be just as potentially irritating...but one soon warms up to him, and Askey certainly comes up with a number of witty lines and amusing bits of business throughout to justify the fact that the lead character of the play (and the 1931 film version) was split into two here, with Murdoch acting as the star's straight partner.<br /><br />The remote single setting (the events of the film largely take place during one stormy night) provides for some wonderful atmosphere; the last half-hour - with the sudden appearance of a mysterious couple (Raymond Huntley and Linden Travers) and eventually the arrival of the titular vehicle itself - is especially gripping and well handled. Also worth mentioning from the remaining cast list is Kathleen Harrison as the stereotypical frightened spinster, with a parrot as her constant companion and who is driven by all the excitement to take her very first drink. | 1pos
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Hello Playmates.I recently watched this film for the first time ever and it is also my first experience of Arthur Askey, I have to admit I was very impressed by this film. As a fan of black and white films generally, passport to pimlico, the lavender hill mob and Tommy Trinder (who is apparently a distant relative), this film appealed in that it provided good old fashioned British humour. I notice that there are some on here who have criticised Askey's performance, however in my opinion it stands the test of time as a fine example of forties comic acting and if anything adds to the picture by creating characters that are more than the mere stereotypes which seem to so dominate films now.If you can get hold of this film I would recommend you get hold of it,shame these films generally aren't shown on Sunday afternoons anymore.I am also glad to have had the opportunity to watch another piece of work by Arnold Ridley (Private Godfrey in dad's army).I thank you | 1pos
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One of my favourite films first saw it when I was about 10, which probably tells you a lot about the type of humour. Although dated the humour definitely has a charm about it. Expect to see the usual Askey & Murdoch banter so popular in its day, with lots of interesting, quirky co-characters. The lady with the parrot, the couple due to get married and are in trouble from 'her', and my favourite, the stationmaster, "Nobody knows where it comes from ... nobody knows where it goes.." Interestingly the ghost train was written by Arnold Ridley of Dads Army fame (Private Godfrey the medic) Watch it on a rainy Sunday afternoon after your lunch and smile. | 1pos
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As a matter of fact, this is one of those movies you would have to give 7.5 to. The fact is; as already stated, it's a great deal of fun. Wonderfully atmospheric. Askey does indeed come across as over the top, but it's a great vehicle for him, just as Oh, Mr Porter is for Will hay. If you like old dark house movies and trains, then this is definitely for you.<br /><br />Strangely enough it's the kind of film that you'll want to see again and again. It's friendly and charming in an endearing sort of way with all of the nostalgic references that made great wartime fare. The 'odd' band of characters simply play off each other as they do in many another typical British wartime movie. It would have been wonderful to have seen this film if it had been recorded by Ealing studios . A real pity that the 1931 original has not survived intact | 1pos
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If the very thought of Arthur Askey twists your guts, don't worry, you can still watch and love The Ghost Train, like the equally marvellous Back Room Boy, it is a film that is simply too damn good to be sunk by a single performance, even that of the lead actor. Personally, I love Askey, perhaps it's because I go into his world, rather than unreasonably expecting him to come into mine, which is a mistake too many people make. The Ghost Train is so intensely atmospheric that you couldn't conceivably watch it without being amazed at the deep, dark world it transports you to, it is immersive in a way that few cheap and cheerful flag-wavers managed to be during the desperate early '40s and it's a film that I would imagine few people have ever watched just the once. The cast are, without exception, extraordinarily good, perhaps Linden Travers lays it on a bit thick, but against the backdrop of a lonely railway station in wartime, she could hardly play a nutter and not stand out. The sad passing of the lovely Carole Lynne earlier this year broke the last link we had with this incredible film and now it really is in the past, but waiting patiently for us to press play. | 1pos
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In the colonies we're not all that familiar with Arthur Askey, so I nearly skipped this film (which had its TCM preview recently) on account of the negative comments here on his appearance in "Ghost Train" -- which I expected to be thoroughly annoying. Instead I was pleasantly surprised to find myself laughing audibly. The physical aspects of Askey's comedy and his timing when delivering a line suggest what you'd get if Charlie Chaplin and Woody Allen had a baby. There is no comparing him to Bud Abbott or any of the other usual purveyors of comic relief who turn up in films of this genre. One can feel, moreover, the thread connecting Askey to British comedy 30 years later; at least it is clear from an American point of view that he has more in common with the Monty Python troupe than with any of his counterparts over here. As for the rest of the film -- the more movies you've seen, the more likely you'll guess at the ending, but it is still quite entertaining and atmospheric and worth waiting for its next appearance. | 1pos
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I have seen the recent Region 2 DVD of this movie displayed in the "horror" section in an Oxford Street store and also advertised as a "classic thriller". In reality it is almost solely a vehicle for Arthur Askey, one of the most popular names in British comedy and light entertainment for over four decades.<br /><br />Perhaps his incessantly cheerful, exuberant and essentially good-natured humour comes as a bit of a culture shock to many accustomed to the sour and cynical flavour of much British comedy of the past twenty five years. However there are still those who appreciate his lively and cheery persona and total avoidance of pathos. Askey was an idol of the great Tommy Cooper who frequently borrowed the "self-strangulation" gag that Arthur attempts to entertain the stranded passengers with.<br /><br />There is a striking, rare appearance by the under-rated Linden Travers, who makes an impact as the mysterious Julie. | 1pos
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a timeless classic, wonderfully acted with perfect location settings, conjuring a marvelous atmospheric movie. a simple story mingled with humor and suspense. i wish that a video was available in Britain. i have seen this film on many occasions and it remains one of my favorites along with Oh Mr Porter. | 1pos
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This movie reminded me that some old Black & White movies are definitely worth the look.<br /><br />Initially I had some reservations, however from the beginning of the movie until the end I was captivated. I was VERY impressed with the mixture of drama, suspense & comedy.<br /><br />Arthur Askey (Tommy Gander) is HILARIOUS and had me in stitches the whole time.<br /><br />Definitely add this movie to your movie-night for some light relief from the sometimes depressing and "too" powerful or overly "funny" movies of today. | 1pos
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I was young film student in 1979 when the Union of the Soviet Filmmakers came to Sofia Bulgaria and premiered Konchalovsky's "Siberiade"; Tarkosvky's "Stalker" and Danelia'a "Autumn marathon". I was stunned by the cosmopolitan dimension of the art form. Then and only then, I saw "Siberiade" 4 and 1/2 hours epic and was speechless. Way better then Bertolucci's "1900". By far!<br /><br />Hope Andron will somehow get to the negative and make "director's restored version full lenght " someday! On DVD of course! Also I fiercely fought in defense of this Cinema against most of my colleagues who were equating Soviet film with bad taste! Time is on my side. | 1pos
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I have seen the film a few days back on a video tape and even though it was hard to swallow it at one take (because of its length and story), I liked it very much. I was impressed first, by the script and then, by the realization of this script. The film takes you on a ride, but that is not an easy, joyful ride; it goes through time and different political regimes and shows the influence of them to ordinary people's lives. What I loved was the inner logic the film followed; logic, which just like logic in life, was rather illogical and confusing at times but in the end, when I thought about it, all the events and twists made sense. It makes no sense though to try to re-tell the story as it spreads in more than 50 years of time. I also liked very much Nikita Mikhalkov's character Aleksei and the way he played it, as some critics would saw, with restless abandon. What I didn't like about it, was that I think he later played characters that remind me of Aleksei in films like "Cruel Romance" (Zhestokij romans, which I actually love) and to some extent in "The Insulted and the Injured" ("Unizhennye i oskorblyonnye"). "Sibiriada" shows, I think, what a great film-maker Andrei Konchalovski was before he went to Hollywood and made forgettable films like "Tango and Cash" and less forgettable like "Runaway train". I would prefer "Kurochka Ryaba" to them... | 1pos
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It is a story of Siberian village people from the beginning of 20th century till the 60ties. It is about passion and feelings, about Russian soul, and very romantic. This movie IS NOT action packed, it flowes slowely. In second part one can find great songs - Russian romances. It is much more better than Doctor Zhivago. The director of this movie moved to America and made Runaway Train for example. | 1pos
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For anyone who wishes to get an impression of the Soviet view of modern Russian history this monumental film is a treasure. The story starts at the turn of the century (1900) in the yellowish sepia colours of old photographs which improves to black and white during the middle of the century and to full colour when the story approaches modern times (i.e. the 1960s).<br /><br />The story focuses on a boy in a remote Siberian village, who is marked by the arrival and arrest of an anarchist during the czarist era. He later joins the Bolsheviks after the revolution and brings soviet communism to his village. His son, by the local beauty, fights the Germans during the Second World War. When he returns to the village, the oil industry takes off and we are treated to some Soviet economic idealism.<br /><br />This film is long and slow, but utterly logic and very well made. It can be seen in three parts. | 1pos
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The legend of Andrei Konchalovsky's towering 4 and a half hour poem to Siberia is not to begin at once, because it must hold back for space, because it takes its time in roundabout explorations of half-remembered childhood memories in a turn-of-the-century backwoods village, yet the movie goes on picking up steam building in emotional resonance as though even the sounds and images which compose it become imbued by sheer association with their subject matter with that quality of fierce tireless quiet dignity that characterizes the Soviet working spirit. Konchalovsky celebrates Soviet collectivity but in an almost revisionist way to paeans like Soy Cuba and Invincible the mood turns somber and reflective. News of the revolution reach the secluded Siberian village through the grapevine. The fruits of its labor reach it only when a world war calls for the young men to enlist. Through all this, Konchalovksy zeroes in on the individual, with care and affection to examine the bitter longing and regret of the woman who waited 6 years after the war for a fiancé who never came back, waited long enough to go out and become a barmaid in a ship with velvet couches and which she quit years later to come back to her village to care for an aging uncle who killed the fiancé's father with an axe, the irreverent folly of the fiancé who came back from the war a hero 20 years too late, came back not for the sake of the girl he left behind but to drill oil for the motherland, the despair and resignation of the middle-aged Regional Party Leader who comes back to his small Siberian village with the sole purpose of blotting it out of the map to build a power plant. The movie segues from decade to decade from the 10's to the 80's with amazing newsreel footage trailing Soviet history from the revolution to war famine and the titanic technological achievements of an empire (terrific visuals here! all kinetic violence and skewed angles and flickering cramped shots of crowds and faces) but the actual movie focuses on the individual, on triumphs and follies small and big. By the second half a sense of bittersweet fatalism creeps in; of broken lives that never reached fulfillment choking with regret and yearning. "It can't matter", seems like the world is saying, to which Konchalovksy answers "it must matter" because the protagonists keep on trying for redemption.<br /><br />Yet behind this saga of 'man against landscape' something seems to hover, shadowy, almost substanceless, like the Eternal Old Man hermit who appears in every segment to guide or repudiate the protagonists, sometimes a mere spectactor, sometimes the enigmatic sage; a little behind and above all the other straightforward and logical incomprehensible ultimatums challenges and affirmations of the human characters, something invisible seems to lurk. Ghosts of the fathers appearing in sepia dreams, repeated shots of a star gleaming in the nightsky, a curious bear, indeed the Eternal Old Man himself; Konchalovksy calls for awe and reverence before a mystical land of some other order. In its treatment of a small backwoods community struggling against nature progress and time and in the ways it learns to deal with them, often funny bizarre and tragic at the same time, and in how the director never allows cynicism to override his humanism, it reminds me of Shohei Imamura's The Profound Desires of the Gods. When, in a dream scene, Alexei tears through the planks of a door on which is plastered a propaganda poster of Stalin to reach out at his (dead) father as he vanishes in the fog, the movie hints at the betrayal of the Soviet Dream, or better yet, at all the things lost in the revolution, this betrayal made more explicit in the film's fiery denouement. The amazing visuals, elegiac and somber with a raw naturalist edge, help seal the deal. By the end of it, an oil derric erupts in flames and the movie erupts in a wild explosion of pure cinema. | 1pos
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Apart from having the longest reign in British history (63 years), Queen Victoria also holds two other distinctions. She was, apart from our current Queen, the oldest ever British monarch, living to the age of 81. And she was also the youngest ever British (as opposed to English or Scottish) monarch, coming to the throne as a girl of eighteen. And yet whenever television or the cinema make a programme or film about her, they seem far more interested in the older Victoria than they do in the young girl; the version of Victoria with which modern audiences will probably be most familiar is Judi Dench in "Mrs Brown". "The Young Victoria" tries to redress the balance by showing us the events surrounding her accession and the early years of her reign. It has the rare distinction of being produced by a former Royal, Sarah Duchess of York, whose daughter Princess Beatrice makes a brief appearance as an extra.<br /><br />There are three main strands to the plot. The first concerns the intrigues of Victoria's mother, the Duchess of Kent, a highly unpopular figure even with her own daughter, largely because of the influence of her adviser Sir John Conroy, who was widely rumoured to be her lover. (According to one unfounded rumour he, and not the late Duke of Kent, was Victoria's natural father). The second strand concerns the growing romance between Victoria and her German cousin Prince Albert, and the attempts of King Leopold of Belgium, who was uncle to both of them, to influence this romance. (Leopold's hope was to increase the prestige of the House of Saxe-Coburg, to which both he and Albert belonged). The third concerns one of the strangest episodes in British political history, the Bedchamber Crisis of 1839, when supporters of the Tory Party (which had traditionally supported a strong monarchy) rioted because the young Queen was perceived to favour the Whig Party and their leader Lord Melbourne, even though the Whigs had historically supported a quasi-republican system of government, with the monarch reduced to a figurehead.<br /><br />Scriptwriter Julian Fellowes is known for his Conservative views, and at times I wondered if this may have coloured his treatment of political themes, as he seems to lean to the side of the Tories, the predecessors of the modern Conservative party. Their leader Robert Peel is shown as statesmanlike and dignified, whereas Melbourne, for all his dash and charm, is shown as devious and uninterested in social reform. There may be some truth is these characterisations, but Fellowes glosses over the fact that only a few years earlier the Tories had opposed the Reform Act, which ended the corrupt electoral system of rotten boroughs, and that they had benefited from William IV's unconstitutional dismissal of a Whig administration.<br /><br />Lessons in dynastic and constitutional history do not always transfer well to the cinema screen, and this one contains its share of inaccuracies. Prince Albert, for example, was not injured in Edward Oxford's attempt on Victoria's life, and Melbourne (in his late fifties at the time of Victoria's accession) was not as youthful as he is portrayed here by Paul Bettany. King William IV certainly disliked the Duchess of Kent (who was his sister-in-law), but I doubt if he would have gone so far as to bawl abuse at her during a state banquet, as he is shown doing here. I also failed to understand the significance of the scene in which the Duchess and Conroy try to force Victoria to sign a "Regency Order"; the Duchess's constitutional position was made clear by the Regency Act 1830, which provided that she would become Regent if her daughter was still under eighteen at the time of her accession. No piece of paper signed by Victoria could have altered the provisions of the Act.<br /><br />There are also occasional infelicities. In one early scene we see Victoria and Albert playing chess while comparing themselves to pawns being moved around a chessboard, a metaphor so hackneyed that the whole scene should have come complete with a "Danger! Major cliché ahead!" warning. Yet in spite of scenes like this, I came to enjoy the film. There were some good performances, especially from Miranda Richardson as the scheming Duchess and Mark Strong as the obnoxious Conroy. It is visually very attractive, being shot in sumptuous style we have come to associate with British historical drama. Jim Broadbent gives an amusing turn as King William, although he does occasionally succumb to the temptation of going over the top. (Although not as disastrously over the top as he was in "Moulin Rouge").<br /><br />The main reason for the film's success, however, is the performances of Emily Blunt and Rupert Friend as the two young lovers Victoria and Albert. Blunt is probably more attractive than Victoria was in real life, but in her delightful portrayal the Queen is no longer the old lady of the popular imagination, the black-clad Widow of Windsor who was perpetually not amused, but a determined, strong-minded and loving young woman. Her love for Albert, and their happy family life together, was one of the main reasons why the monarchy succeeded in reestablishing itself in the affections of the British people. (With the exception of George III, Victoria's Hanoverian ancestors had been notoriously lacking in the matrimonial virtues). Blunt and Friend make "The Young Victoria" a touching romance and a gripping human drama as well as an exploration of a key period in British history. 8/10 | 1pos
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I went into this expecting not to like it; I figured it would be terribly worthy and earnest, and rather plodding and dull.<br /><br />It's actually far better than that, and I found myself really enjoying it. I don't know too much about Queen Victoria beyond what most know - married to Albert, who died young, and she mourned him ever after. Seeing the circumstances she grew up under was fascinating; in fact I found myself wishing I'd seen more of the story, and I imagine we may see a sequel at some point.<br /><br />Visually the film is stunning. The sets and costumes are incredibly lavish without being too gaudy and over the top. The acting is top notch from everybody involved.<br /><br />In a word, it was great! | 1pos
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Despite some reviews being distinctly Luke-warm, I found the story totally engrossing and even if some critics have described the love story as 'Mills and Boon', so what? It is good to see a warm, touching story of real love in these cynical times. Many in the audience were sniffing and surreptitiously dabbing their eyes. You really believe that the young Victoria and Albert are passionately fond of each other, even though, for political reasons, it was an arranged marriage. I did feel though that Sir John Conroy, who was desperate to control the young Queen, is perhaps played too like a pantomime villain. As it is rumoured that he was in fact, the real father of Victoria (as a result of an affair with her mother The Duchess of Kent) it would have been interesting to explore this theory. Emily Blunt is totally convincing as the young Princess, trapped in the stifling palace with courtiers and politicians out to manipulate her. She brilliantly portrays the strength of character and determination that eventually made Victoria a great Queen of England, which prospered as never before, under her long reign. I believe word of mouth recommendations will ensure great success for this most enjoyable and wonderful looking movie. | 1pos
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The 63 year reign of Queen Victoria is perhaps one of the most documented and popularly known historical reigns in British history. On the one hand, her story lacks the theatrics of earlier royals thanks to a change in social climate and attitudes, and on the other her story is one that perpetuates because it is notably human. Taking on the earlier years of her life where the budding romance between herself and the German Prince Albert was taking forefront, director Jean-Marc Vallée who has only until recently remained in the unbeknownst shadows of the industry here takes Victoria's story and captures that human element so vital to her legacy. It's a story that feels extremely humble considering its exuberant background, and yet that's partly what gives it a distinct edge here that separates it from the usual fare.<br /><br />Taking a very direct and focused approach that centres in on a brief five or so year period between her ascension and marriage to Albert, The Young Victoria does what so little period pieces of this nature offer. Instead of attempting a sprawling encapsulation of such a figure's entire life, Vallée instead opts to show one of the lesser known intricacies of Victoria's early years which are easily overlooked in favour of the more publicly known accolades. The result is a feature that may disgruntle historians thanks to its relatively flippant regards to facts and the like, yet never to let document get in the way of extracting a compelling story, writer Julian Fellowes sticks to his guns and delivers a slightly romanticised yet convincing portrayal. Vallée takes this and runs, making sure to fully capitalise on those elements with enough restraint to maintain integrity in regards to both the history involved and the viewer watching.<br /><br />A major part in the joy of watching The Young Victoria play out however simply lies in the production values granted here that bring early 1800's Regal Britain to life with a vigorous realism so rarely achieved quite so strikingly by genre films. Everything from the costume designs, sets, hair styles, lighting and photography accentuates the grandiose background inherent to Victoria's story without ever over-encumbering it. Indeed, while watching Vallée's interpretation come to life here it is very hard not to be sucked in solely through the aesthetics that permeates the visual element; and then there's the film's score also which works tremendously to further the very elegant yet personal tones that dominate Fellowes' script. Entwining the works of Schubert and Strauss into Victoria and Albert's story not only works as a point of reference for the characters to play with, but also melds to the work with an elegance and refrain that echoes composer Ilan Eshkeri's original work just as well.<br /><br />Yet for all the poignant compositions, lush backdrops and immaculate costumes that punctuate every scene, the single most important factor hereand indeed to most period dramasare the performances of the cast and how they help bring the world they exist in to life. Thankfully The Young Victoria is blessed with an equally immaculate ensemble of thespians both young and old that do a fantastic job of doing just that. Between the sweet, budding romance of Victoria (Emily Blunt) and Albert (Rupert Friend) and the somewhat antagonistic struggles of her advisors and the like (spearheaded by a terrific Mark Strong and Paul Bettany), the conflicts and warmth so prevalent to Fellowe's screenplay are conveyed perfectly here by all involved which helps keep the movie from being a plastic "nice to look at but dim underneath" affair so common with these outings.<br /><br />In the end, it's hard to fault a work such as The Young Victoria. It's got a perfectly touching and human sense of affection within its perfectly paced romance, plus some historical significance that plays as an intriguing source of interest for those in the audience keen on such details. Of course, it may not take the cinematic world by storm and there lacks a certain significance to its overall presence that stops it from ever becoming more than just a poignantly restrained romantic period drama; yet in a sense this is what makes it enjoyable. Vallée never seems to be striving for grandeur, nor does he seem content at making a run-of-the-mill escapist piece for aficionados. Somewhere within this gray middle-ground lies The Young Victoria, sure to cater to genre fans and those a little more disillusioned by the usual productions; beautiful, memorable but most of all, human.<br /><br />- A review by Jamie Robert Ward (http://www.invocus.net) | 1pos
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Rupert Friend gives a performance, as Prince Albert, that lifts "The Young Victoria" to unexpected levels. He is superb. As we know, Queen Victoria fell into a dark, deep depression after Prince Albert's death and looking into Ruper Friend's eyes I understood. The film doesn't take us to his death but to an incident that may very well could have cost his life. An act of love. I believed it, or I should say, him. I believed what he felt was real. Nothing or anybody gets anywhere near the delicacy and profundity of Friend's characterization. Emily Blunt is good but I didn't believe for a minute she was Victoria. No real sense of period. It may no have been her fault but her prince deserved the crown. | 1pos
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And that's why historic/biographic movies are so important to all of us, moreover when they are so well done, like this one!<br /><br />Before I saw "The Young Victoria", I knew a few things about Queen Victoria, but in the end I got much more knowledge about it. <br /><br />Emily Blunt is simply GREAT as Victoria (Who would guess that!) and She probably will get a nomination at this years Oscar's. Personally, I'm cheering for her...<br /><br />For technical issues, I am pleased to say that is a very successful production, with wonderful Art Direction/Set Decoration and, of course, like It was expected to be, a terrific periodic Costume Design! <br /><br />The one drawback is that I want to see more and know more about this interesting queen, but foremost, incredible woman and mother! <br /><br />BRAVO: 9 out of 10! | 1pos
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This film is about the life of Queen Victoria during her youth and her first few years as the monarch of Great Britain.<br /><br />"The Young Victoria" has amazing production. Every scene is designed and decorated to immaculate detail. The extravagant costumes, lavish locations and beautifully landscaped gardens all make "The Young Victoria" very impressive. I was the most amazed by the thoughtful cinematography. How every person is placed in relation to the background or foreground is well thought out, every scene is well composed. The scene that strikes me the most was when Victoria talks to Melbourne. Melbourne was positioned in the middle of the door frame from Victoria's angle, while from Melbourne's angle Victoria was situated between the space where Melbourne held his arm on his hips.<br /><br />Story wise, it is far too compressed to be followed and understood by a person without historical knowledge of Queen Victoria. Many events are rushed through or not even explained. I expected a grand scene of the coronation, and disappointingly it only lasted for a few seconds.<br /><br />Overall, "The Young Victoria" is a good film, and it would have been even better if it was longer, so that events could be properly explained without rush. | 1pos
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Princess Victoria (Emily Blunt) is in line for the throne of England. The present King William (Jim Broadbent) is not well and may not live long. However, Vicky's scheming mother, The Duchess of Kent (Miranda Richandson) and her aide, John (Mark Strong) want to force Victoria to sign papers declaring them to be the "regents" until she is older, since she is only 20 years of age. The young lady refuses, despite John slapping her around. It is another sign that Victoria has a strong will and deep love for her country. Yet, when William does pass away, shortly after her 21st birthday, Victoria knows she has a heavy duty before her. First, she must surround herself with the "right" advisers to govern wisely. She chooses handsome Lord Melbourne (Paul Bettany) who, although an older man, is mentioned as a suitor for Vicky. Which brings us to the young queen's second major decision. Sooner than not, the young queen should select her future mate, as it will bring stability to her life and to those of the kingdom, for an heir must appear in the coming years. Meanwhile, in Germany, some distant relatives of the British royal family are hatching some plans as well. Handsome Prince Albert (Rupert Friend), of the Saxon-Coburg dynasty, is prodded by his father to court the young English royal. Once he arrives at the palace, he is smitten and the feeling seems to be mutual. But, since he is a minor player on the map of royal match-making, can he succeed in winning her heart? This is a lovely film, made even better by a completely winning performance by Emily Blunt as Victoria. Yes, she is beautiful but it is her intelligent reading of the role that scores mightily. Friend, too, does well, as do the other actors, including Broadbent, Richardson, Bettany, Strong (what a repulsive role!), and the rest. Also, the movie is gorgeously shot, costumed, and set, making it a visual treat in every way. If anything is lacking, it is an extra dose of dazzle, as the film seems a bit too straightforward and prosaic, at times, with a somewhat unimaginative edit. However, this is only a minor, minor point of argument in an overall very successful and gorgeous film. In short, young and old, should make time for Young Victoria. It is a most worthy film among 2009 cinematic offerings. | 1pos
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The cinematic interests in the British monarchy continues with The Young Victoria (1837 to 1901), after having seen in recent years, the efforts with Keira Knightley's The Duchess, Cate Blanchett's Elizabeth films, and Scarlett Johansson and Natalie Portman's take on the Boleyn sisters with The Other Boleyn Girl. More contemporary stories would include Helen Mirren's award winning portrayal of The Queen on the current reign of Queen Elizabeth II at the turn of Princess Diana's death.<br /><br />Each of the films mentioned featured stunning actresses with acting gravitas (ok, so some may dispute Johansson) or were the flavour of their moment, and each film had a definitive moment in their historical character's legacy that it becomes a no brainer to have those events featured, and in fact Elizabeth had enough to span two films. However, The Young Victoria, as the title already suggests, is a lite-version of the young queen's life, and if you're looking for that definitive event, or the staple political intrigue that plague all royal households and their dealings with shady, self-serving politicians, unfortunately there's nothing of depth here.<br /><br />That's not to say The Young Victoria is without. Directed by Canadian Jean-Marc Vallee (best known for CRAZY) and written by Julian Fellowes, this film chronicles in very plain terms, ,the life and times of Victoria (Emily Blunt, soon becoming the new It girl) when she was a child, the troubles she faced before Coronation such as the eagerness of her mom The Duchess of Kent (Miranda Richardson) and her adviser Sir John Conroy (Mark Strong) to appoint themselves as joint-Regent to her throne, as already planned for by reigning King William (Jim Broadbent). As if that wasn't enough, the political power play enters the picture with Lord Melbourne (Paul Bettany) being a Prime Minister-in-waiting trying to gain the trust of the new Queen, and subtly plants his own trusted allies into positions within the palace. On one hand you'd understand the need for a young, and new Queen to have trusted people in key positions, but on the other, are they really acting in her interests, or in the interests of others?<br /><br />Even this angle of intrigue creeps into her romantic story with Prince Albert (Rupert Friend), where their relationship forms the bulk of the second half of the film, and pretty much everything already included in the trailers. For both, they've been brought up under the influence of others, and told each step of the way exactly what to do. Even their union may seem like a firm registration of an alliance, if not for both lovers recognizing their common need to establish their own grounding, and to do so with the help of each other. Instead of being pawns, there's this constant search and probing of opportunities to break out of stifling, and at times absurd, rules and regulations. Trust also becomes a much valued commodity, and loyalty too can be traded for wanting to set the slate clean.<br /><br />However, all these themes become but a breeze through the narrative, from childhood to romance, marriage and children. In fact, there's so much fast-forwarding here, especially the last few minutes filled with inter-titles, that it actually leaves the audience wanting for more, and room of course for another movie, which I suspect would probably not see the light of day, but perhaps a television series might pick up on the film's response, and come out with a mini-series or such. It's a pity that all the effort here in ensuring the gorgeous costumes, sets and art direction would be confined to a film that's quite lightweight in theme and brief mention of issues, that they don't really challenge the protagonists in order to allow for some overcoming of character-defining adversary.<br /><br />With its star-studded cast, one would expect more, but one would be left wanting more instead. Recommended for those who are ever curious about Kings and Queens in the British Monarchy, only as a complement to other more engaging stories available in the other films already mentioned. | 1pos
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It is a tricky thing to play a queen. On the one hand, the actress has to be majestic and imperious, and on the other, she has to show vulnerability in a tough situation as well as the gathering of the courage and resolution to overcome the odds, since almost all movies about queens have that basic plot line. <br /><br />Emily Blunt is quite radiant as Victoria, but it's not as full a performance as I'd like, no blame to her. I can't help but feel like this is a Mills & Boon novel adaptation compared to a darker, more dramatic movie about another young queen, Elizabeth. Hence Blunt doesn't get to run the gamut of queenly emotions, at least not to the full extent, since she's, y'know, the young Victoria. To see the old Victoria, check out Mrs Brown.<br /><br />Jean-Marc Vallee is an interesting choice of director for the movie. He last did C.R.A.Z.Y., which was excellent and propelled him to fame. It was quite a different movie but I remember it looking gorgeous and that's probably the main similarity between the two movies. But while Vallee wrote C.R.A.Z.Y., this one was by Julian Fellowes, and though I really enjoyed his Gosford Park, the story for this movie was much less interesting. I soon got lost with all the governmental politics. Maybe it was less engaging because there was no potential beheading of the monarchy. I'm just saying. | 1pos
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Having to have someone hold your hand whenever walk up or down stairs? Having others taste your food before you eat it? Facing an over-bearing mother? These are only a few of the obstacles which the young Victoria has to deal with in this film (there's also the various power struggles going on, as well as attempts on her life). Needless to say, it makes for very fascinating and informative viewing.<br /><br />I had only previously seen Emily Blunt in The Devil Wears Prada (and little else). As she was in that film, she is once again the standout here. I was extremely impressed with her portrayal of the young Victoria, and thought she handled the role very well. She makes the transition from the young Victoria we meet at the start of the film to the Queen Victoria she becomes later entirely believable. Blunt is perfectly cast in the role, showing all the different sides (from the vulnerable, to the strong, from the young Victoria who makes mistakes to the Queen who takes control). Not enough can be said about Emily Blunt in this role. She's - quite simply - exquisite, commanding your attention every second she's on screen. She keeps you transfixed up to and including the final shot of the film.<br /><br />Rupert Friend proves to also be well-cast as Victoria's love interest (and eventual husband), Prince Albert. The actors have nice chemistry and you absolutely believe in their developing relationship. They have their disagreements, but you can tell that they are in love. Blunt and Friend are excellent in every scene that they share and keep you interested in what is happening between Victoria and Albert. The other actors in the film are also very good. Paul Bettany as Lord Melbourne, Miranda Richardson as the Duchess of Kent, Mark Strong as Sir John Conroy and Jim Broadbent as King William. There is not a single bad performance in this film. The less-focused-upon people are well-portrayed also, given what little screen time they have. Even Victoria's dog (a Cavalier King Charles Spaniel named Dash) is memorable and makes an impact in the film.<br /><br />Although the movie does tend to skip more than a few aspects of Victoria's life - especially at the end - and instead *tells* us what happened (with her and Albert) on screen, what matters the most is what we actually *see*. This is, after all, a film about 'The Young Victoria' (not 'The Middle-Aged Victoria', nor 'The Old Victoria'). While there are some embellishments made on history with this film, it remains focused on what it sets out to do - which is tell us the story of how the young princess rose to power.<br /><br />The movie looks amazing, the costumes Emily Blunt wears are visually stunning and the music only adds to the film, never detracts from it. It's exceptionally shot and, unlike a lot of films these days, this movie is actually a good length, as it doesn't run on so long that you lose interest or feel that it's needlessly being drawn out.<br /><br />It goes without saying that what makes this film so great is Emily Blunt. She's in fine form here, turning in another excellent performance and elevating this film above what it might have been, had another actress been cast in this rather important/historic role. This is one finely-crafted film, with excellent performances that should definitely be seen. If you have an appreciation for a fascinating look at a woman who was extremely significant in history, this is a must-see. | 1pos
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One of those beautifully intense movies that draws us so intimately far in, it ends much to soon! Than were left looking at the screen like, "No they didn't!", lol. Good performances all around! The acting is marvelous with Emily Blunt simply outstanding! I knew she would give a solid, convincing performance catching young Victoria's regality, temper, and vulnerability through out the entire movie. Also, the production is outstanding in every way: style, substance and sensitivity. A remarkable glimpse at a remarkable time in Britian's history told via a very personal and touching biography of the school age princess until her reign as Queen, later marrying Prince Albert, than ending with the birth of their first of nine children. It had a well written screenplay and flawless editing. Rupert Friend as the ever so patient and compassionate young Prince Albert vying to win the young Queen's attention, than securing her love, before Lord Melbourne(Paul Bettany), was engrossing to watch. Just as engrossing was the relationship between the teenage Victoria and her mother, which was fury at times, as with her mother and King William (whom also disliked her mother). The acting and scenes were captivating, highly emotional. <br /><br />I would recommend this to anyone interested in the historical and political situation existing in that era, and indeed, anyone who loves a compelling true romance story | 1pos
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What more can be said? I have not been this fascinated with a young actress since Cate Blanchett burst upon the scene over ten years ago. And although both Blanchett and Blunt have played Queens now( seems to be the benchmark for up and coming actresses), the roles are complete polar opposites.<br /><br />Simply put if you are looking for high passion, compelling drama, and Machiavellian intrigue, this is not the movie for you. This isn't to say that the script or direction was bad, its just that the subject of the film did not lead too dramatic a life when compared to other notable royals like Elizabeth I, Anne Boylen, Henry VIII, Henry V, Henry II and Elainor of Acquitane. These are people whose lives were the stuff such as good soap operas are made of and whose policies and decisions altered the course of British ,and in most cases, world history. Victoria, in contrast, ascended the throne without incident, she quasi-governed a nation that was fast becoming a global power due to industrialization and the rise of the Navy, her State had a stable government led by competent and dynamic politicians, and she married young had a harmonious family life. The facts of her life are not the Sturm und Drag such as powerful dramas are made of.<br /><br />The heart of the film, aside from the attempt to dramatize her stultifying upbringing and the machinations surrounding her throne, is the story of the one thing that was truly shocking and surprising about her reign- a love story. Marriage made for financial or political reasons is with reason not necessarily the place to look for world shaking passion, yet Victoria will always be remembered in history as being sort of a Patron Saint marital fidelity, happiness and ideal family life. Thus, central to the film is the budding love of Victoria and her Prince Albert. I was very taken with Rupert Friend's characterization of Albert whom he portrayed as a kind, patient, somewhat earnest and maybe a touch naive young man, looking to" do good in the world and help". In short, he is a good man with a good heart, not the most dynamic figure to base a drama around, but as that is not the point of the story, that does not matter. The heart of the character shines through thanks to Friend's understated yet earnest performance. <br /><br />As for the Queen, well..Emily Blunt is sublime. Her beauty cannot be denied, but she is more than something pretty to look at; her face is like quicksilver because of her expressiveness. The slightest arch of the eyebrow, glance of the eye or slight wry smile delivers so much. Again, this is not a bombastic performance of heavy speeches and impassioned pleas, its not that kind of movie. But what Ms. Blunt does do with the role is show the simple humanity of the character with potent subtlety. <br /><br />For example, we see the joie de vivre that has been kept in check by Victoria's mother ( Miranda Richardson) and her scheming adviser/lover Conroy expressed in the simple things like Victoria trying to sketch her dog. We see her delight and fascination upon first meeting Albert by her eyes being continually drawn to him. We see her nervous and overwhelmed when addressing Parliament upon her Ascension. And my favorite scene of all in the film- we see her nervous, happy, and hopeful as she steels herself to do what really most women never have to do in their life- ask the man she loves to marry her, a proposition so ridiculous for those times( and some would say now) that Victoria bursts out in nervous laughter before she can even say "marry me". Again, this is not a movie for over the top larger than life expressions, but more a study in the subtleties of a character and making the little things say so much.<br /><br />So, overall, I judge the film by what it is and what it tried to do and as such I give it a 7. I felt that some of the politics could be better explained and that some very fine actors were wasted with little do and little character development, namely Miranda Richardson as the Duchess of Kent, and the characters of Conroy and Lord Peal. Again, the film need not have spent a large amount of time on those characters, but a little more exposition would have helped to explain the political environment. Also I would have loved to have seen more of the adjustment to married life between Victoria and Albert, but that may be just my greed for more scenes between Friend and Blunt. <br /><br />In summary, don't view this film in terms of a historical drama but for what it really is, a love story between two characters that happen to be historical figures. I give this film a solid 7 for wonderful lead performances, brilliant costumes and scenery and the magnificent Victoria of Emily Blunt. And anyone who has any shred of romance left in them, you will be touched by the end of this movie. God save the Queen. | 1pos
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Overall, I thought it a very nice movie - I hate to use the word 'nice' as it's rather dry but it was very beautiful to look at and the central performances by Rupert Friend and Emily Blunt were very strong. What I liked most was that despite the gleaming aesthetics of the costumes and the settings, all gilded and shiny, this aspect never took over the heart of the film which was good, strong writing (thank you Julian Fellowes :D); nothing too flamboyant or saturated with pomp, i.e not sensationalised greatly (when Victoria is dragged out of bed to be informed she is now Queen, well you couldn't get a less glamorous hand over of the crown). It was paced gently and every line in the film held its worth.<br /><br />Undoubtedly the portrayal of the love between Victoria and Albert, though somewhat fairytale-ish on the face it, was in fact a slow burning candle and Friend and Blunt did well to show how effortlessly these two people 'fitted' together despite the union being initially arranged (my fave bit was when they come home after hunting and Victoria simply hugs her new husband from behind; so much said without any words, that's what film is all about). Blunt held her own beautifully as well, she has a face that demands your attention and I can't not mention the costumes that she wears - every one simply gorgeous. If I was Blunt I would have trouble parting with any of them! The rest of the ensemble cast all played their roles well, Harriet Walter as Queen Adelaide being a highlight.<br /><br />The only qualm I have, is that it lacked a sense of urgency, or an event that could have made the movie a little more exciting? (It was rather tame) I don't know, I wanted 'something' to happen that would have Victoria draw out some strength and prove her worth a little more. When she and Albert argued, I loved it, I could have done with some more pivotal dramatic moments, though that may be just me.<br /><br />Lastly, at the risk of sounding all patriotic, it did renew a sort of pride and awe in the crown and what it takes to be in such a position, especially in one so young. This may be in part to the fact that this film's snap shot of Victoria's young life is immediately apt to what I have been writing for one character of mine in 'The Sword & The Scion' but nevertheless, it did flag up those feelings (for those following my book, can you guess what character Victoria so aptly reflects?) It might have been in part to the film displaying how ridiculous the government were back in those times as they didn't seem to give two hoots about the poor and dispossessed of the nation, which only in turns renews appreciation that Queen Victoria and Prince Albert were so active in this domestic domain. It made the government appear rather useless - nothing much has changed then I suppose.<br /><br />BLOG on films and books: http://sempergratis.blogspot.com | 1pos
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I always have a bit of distrust before watching the British period films because I usually find on them insipid and boring screenplays (such as the ones of, for example, Vanity Fair or The Other Boleyn Girl), but with a magnificent production design, European landscapes and those thick British accents which make the movies to suggest artistic value which they do not really have.Fortunately, the excellent film The Young Victoria does not fall on that situation, and it deserves an enthusiastic recommendation because of its fascinating story, the excellent performances from Emily Blunt, Paul Bettany and Jim Broadbent, and the costumes and locations which unexpectedly make the movie pretty rich to the view.And I say "unexpectedly" because I usually do not pay too much attention to those details.<br /><br />"Victorian era" was (in my humble opinion) one of the key points in contemporary civilization, and not only on the social aspect, but also in the scientific, artistic and cultural ones.But I honestly did not know about the origins from that era very much, and maybe because of that I enjoyed this simplification of the political and economic events which prepared the landing of modern era so much.I also liked the way in which Queen Victoria is portrayed, which is as a young and intelligent monarch whose decisions were not always good, but they were at least inspired by good intentions.I also found the depiction of the romance between Victoria and Prince Albert very interesting because it is equally interested in the combination of intellects as well as in the emotions it evokes.The only fail I found on this movie is that screenwriter Julian Fellowes used some clichés of the romantic cinema on the love story, something which feels a bit out of place on his screenplay.<br /><br />I liked The Young Victoria very much, and I really took a very nice surprise with it.I hope more period films follow the example of this movie: the costumes and the landscapes should work as the support of an interesting story, and not as the replacement of it. | 1pos
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The Young Victoria is a beautiful film and has presented Queen Victoria in a different light to what everyone thinks about her. The films wipes away the "I am not amused" impression of Queen Victoria and shows she was a cheerful young woman.<br /><br />As I love history, particularly Victorian history, you can imagine my reaction when i first saw this film advertised, i was so so so excited and counted down the days until it came to the cinemas. I was a little worried that it wouldn't be historically accurate, but it was and I loved it. I found out new facts about Queen Victoria that didn't know before and it interested me greatly.<br /><br />Queen Victoria in many lights was one of our all time greatest Monarchs, and this film paints a picture of her real personality and what her life was like. She was treated so badly by her mothers adviser Sir John Conroy, because he wanted Britain to have a regency. This was what inspired Victoria to be a fantastic Queen, which she was! The romance between her and Albert was so deep and this was very well done by Emily Blunt and Rupert Friend, who were both brilliant! The Young Victoria is a heart felt love story but at the same time a great look into a major part of British History...I LOVE IT!!!!!!!!! 10/10 ... no doubt! | 1pos
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Enjoyed the movie very much. Certainly will leave the audience wanting to know more, and there is truly a lot more historically to find out!<br /><br />Did the production team fall to the temptation of over dramatization, particularly of the shooting event? There is a ton of interesting accurate material hinted at? Prince Albert's contribution to UK and the monarchy warrants a movie on it's own but granted that was apparently not part of the intention here.<br /><br />The costumes and sets are especially good but am I alone in thinking that this production (which judging by the length of titles at the end was certainly not a cheap one) wanted badly for a British Court historical etiquette expert beyond the Duchess of York? i.e. Did Princess Victoria really stuff an entire truffle/rissole(?) into her mouth while speaking to the Prime Minister in the company of His Majesty with her mouth full? <br /><br />'Could never really felt that sympathetic to Victoriain this movie, or indeed in her shoes at all. Yet loved the casting of the principals, whose acting was convincing, so did the script really allow us to really get to know them well? I always felt like a totally detached, uninformed outside observer, much more so than with "Mrs. Brown" or even "The Queen". Yet to be honest I still could not take my eyes off the screen, except that is for some of the more avant-garde camera techniques which were distracting from time to time. | 1pos
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This is on my top list of all-time favourite films! It is a fantastic and insightful film. It was Historically interesting and great to watch! I thought the acting from Emily Blunt was fantastic and Rupert Friend was a fantastic Albert, the best actor was chosen for Albert. The costumes were gorgeous and the settings and scenes such as the opera house, were amazing and detailed. I just loved it, all of it! I loved the childhood scenes were she's getting 'bullied' by John Conroy. And where her mother says she has to walk stairs with an adult. One again the writers have done it! They produced this fantastic script! <br /><br />It thoroughly deserves the awards they got. (Oscar and BAFTA wining Sandy Powell, for costume design. A BAFTA for best make-up and hair, an Oscar in Best Achievement in Art Direction, Best Achievement in Costume Design, Best Achievement in Makeup. Broadcast Film Critics Association Awards for Best costume design, also nominated for best actress Emily Blunt. CDG for Excellence in Costume Design for Film - Period. Hampton's International Film Awards for an Audience Award for Best Narrative Film. PFCS for Best Costume design.Sudbury Cinefest, doesn't say what for. VFCC for Best Actress, Emily Blunt.) Overall 10 wins and 11 nominations! That pretty good! http://www.imdb.com/title/tt0962736/awards Have a look yourself, its really interesting! Personally Rupert Friend should have got an award. | 1pos
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I saw this on the big screen and was encapsulated with it. The period of Queen Victoria's younger years are a mystery and this is a perfect description of how a young girl was thrusted into one of the highest roles in the world.<br /><br />The script is perfect, the acting is amazing, the history and attention to detail is out of this world. Emily Blunt is perfect as Victoria. Funny how her mother is played by Elizabeth the 1st and William IV is played by Prince Albert! (Think Blackadder).<br /><br />This portrayal of Victoria shows that she was a rebellious young woman once - I'm sure she would have been on Jeremey Kyle Show if it had been around then: "My mother and her boyfriend are trying to steal my life".<br /><br />A Perfect piece of a major part of British and Commonwealth history. | 1pos
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It is Queen Victoria's misfortune to be defined as an historical figure according to her relationships with men.Shortly after she succeeded to the throne she came under the influence of her Prime Minister Lord Melbourne to the extent that she became known as "Mrs Melbourne".After the death of her beloved husband,Albert,she was referred to as "The Widow at Windsor",and years later,a long friendship with her Scottish ghillie John Brown earned her the nickname "Mrs Brown".Such is the price women paid in a patriarchal society. The reality is somewhat different and "Young Victoria" goes some way towards putting the record straight,depicting the queen as an intelligent and independent young woman conscious of the inequities in her society and at her court. Courts have always been hotbeds of seething jealousy,plotting and counter-plotting,naked ambition and sometimes,outright murder. As an 18 year old innocent,Victoria ascended to her uncle's throne,thus initiating a positive orgy of intrigue and a power-struggle between Prime minister Lord Melbourne and his rival Sir Robert Peel. Lord Melbourne cuts a dash in the Old Public School Man kind of way with his finely-honed cynicism and his well-polished gems of advice. Hardly surprising then that the young queen finds herself in awe of him,and even perhaps a little in love,an awe that he ruthlessly exploits,drawing a fine line between attempted seduction and attempted sedition as he forces his policies through against Victoria's better judgement. Into the arena rides Prince Albert,on a mission from King Leopold of Belgium,keen on political rapprochement between Great Britain and the rest of Europe. At first a reluctant suitor,he soon falls in love with the English queen and palliates the influence of the politicians and courtiers. "The Young Victoria" is a beautifully photographed,brilliantly-scored and very sumptuous movie.I note that it has been criticised in some quarters for this sumptuousness as if a movie about 19th century English Royalty should somehow have shown the Empress of India and her family living in rags in a filthy workhouse........I don't think so. I must single out the remarkable Miss Emily Blunt whose beauty reminded me of the young Princess Margaret's.Hers is obviously the pivotal role, and she has absolutely no trouble in dominating the film despite strong performances from Mr Jim Broadbent,Miss Miranda Richardson and Miss Harriet Walter,all immeasurably more experienced. The music is suitably regal and forms a cohesive part of the whole movie without being in any way obtrusive. The fact that Britan flourished more under its two great queens,Elizabeth the First and Victoria,than at any other time is a matter Feminists might like to make more of,but,I suspect,like Prime Minister Margaret Thatcher really powerful women make them feel uncomfortable.If you can work out why there might be a Ph.D . in it. | 1pos
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I was initially forced to attend by my wife as she is fascinated by the Royal families of Britain and their history, and she won't go to the cinema without me. Although viewers shouldn't expect to be electrified, this film is very well made and the visual aspect is second to none. In many ways it helps dispel the myth that Victoria was the miserable unsmiling dumpy woman usually seen in photographs. She was a bright intelligent and according to the history of her early years, a fun loving happy young woman. Her love of Albert was the essence of true love, and even if you only count the number of children she bore (9), they must have had a passionate relationship. All of this is well borne out in the film. To this end, the cast has been well selected with both Emily Blunt and Rupert Friend giving sound performances as Victoria and Albert.<br /><br />(SPOILER ALERT) The historical accuracy is somewhat questionable as at no time did Prince Albert get shot while defending Victoria. There was at least one assassination attempt when they were out together, but nobody was struck by the shot/s. I also found it odd that little was done to expand on the allegedly intimate relationship between Victoria's mother and Sir John Conroy. It is quite likely that this relationship was the true reason for Victoria's distaste for both her mother and Conroy. I also found it odd that there was an attempt to portray the relationship between Victoria and Lord Melbourne as erring on the romantic, or at least having the potential to become romantic. He was already in his late 50's when Victoria came to the throne, and while marriages between older men and young women were common in that era, the movie portrays Melbourne as being a dashing 30 something and rival to Prince Albert. There were apparently rivals to Albert, but she could never have married even slightly below her station in life, and Albert was one of only a handful who would have been acceptable in any case.<br /><br />All in all I have spent worse times at the cinema, and brownie points with my wife can't be a bad thing either. | 1pos
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Who knew? Dowdy Queen Victoria, the plump Monarch who was a virtual recluse for 40 years after the death of her husband, Prince Albert, actually led a life fraught with drama and intrigue in her younger days. 'The Young Victoria' not only chronicles the young Queen's romance with her husband-to-be but also does a pretty good job of detailing the political machinations surrounding her ascent to the throne.<br /><br />The Act I 'set-up' draws you in right away. Following the death of Victoria's father, the Duke of Kent in 1820, less than a year after Victoria's birth, the Duchess of Kent eventually hooked up with former Army Officer John Conroy, who offered his services as comptroller to the widow and her infant queen-to-be. Conroy insisted that Victoria be raised under the atrocious 'Kensington system', rules designed to prevent the future Queen from having any contact with other children while growing up. What's more, Victoria was forced to sleep in her mother's bedroom everyday until she became Queen.<br /><br />The film explains that in 1830 Parliament passed the Regency Act, which established that Victoria's mother would become regent (and hence Guardian) in the event that Victoria acceded to the throne while still a minor. During this time, the Duchess and Conroy tried to intimidate the hapless princess and insisted that she sign papers making Conroy her private secretary and treasurer. Strong-willed Victoria would have none of it, and refused to go along with Conroy's and her mother's nefarious plans. The Duchess disliked King William as she regarded him as a philanderer who brought disrespect to the Monarchy; the King felt the Duchess disrespected his wife. As a result, the Duchess attempted to limit Victoria's contact with the King. In an over-the-top scene which seemed to actually have occurred in history, the King berated the Duchess at his birthday banquet, stating that it was his goal to survive until Victoria reached her 18th birthday so that her mother would not become regent.<br /><br />King William kept his word and died a short time after Victoria became eligible to accede to the throne. Victoria took revenge on her mother for her support of Conroy, whom she blamed for making her childhood so miserable. They were both banished to a secluded apartment in Buckingham Palace and for a number of years Victoria had little contact with her mother.<br /><br />'The Young Victoria' conveys the excitement and pomp and circumstance surrounding Victoria's coronation as Queen. A good part of the film deals with Victoria's relationship with Lord Melbourne, the Whig Party Prime Minister who unfortunately is depicted in the film as much younger than he actually was. In the beginning Melbourne gains the young Queen's trust and they become good friends. In the early years of her reign, she sees Melbourne as a progressive, but later loses respect for him somewhat as he's revealed to be a typical politician, hiding his contempt for the masses whom he's supposed to be championing. In reality, Melbourne was more a father figure to Victoria, but the film hints at some sexual tension between the Prime Minister and Prince Albert, as though they were romantic rivals.<br /><br />The plot thickens when Melbourne is forced out and the Queen must commission Sir Robert Peel, of the more conservative Tory party, as the new Prime Minister. The film chronicles the events of 'The Bedchamber Crisis' in which Peel resigned after Victoria refused to replace some of her Bedchamber ladies with the wives of Tory politicians. The film leaves out another scandal which involved a Lady Hastings, one of the Duchess's ladies-in-waiting who was accused of having an affair with John Conroy and becoming pregnant by him. Because of her hatred for Conroy, Victoria contributed to the nasty rumors being spread about Hastings' alleged pregnancy. As it turned out, Hastings only appeared pregnantwhat she actually had was an abdominal tumor. Victoria's inexperience shows during the Bedchamber Crisis but the film's scenarists ignore some of the more unsavory aspects of her character as evidenced by the Hastings Affair.<br /><br />The rest of the 'The Young Victoria' deals with -- of course -- the romance between the Queen and Prince Albert. Victoria kept Albert waiting, as the film makes clear, since she wanted to acclimate herself to her duties as the new Sovereign. They spent a good deal of time corresponding with one another until Albert returned to England and gave Victoria support during the trying times of the Bedchamber Crisis.<br /><br />I find a good number of parallels between Prince Albert and Prince Philip, the current Queen's husband. While Philip is mainly Danish, he went to school in Germany and had in-laws who were of German background. Both Albert and Philip made it their business to reform etiquette in the Court (there's a great scene where Albert discovers that the servants are still setting a table for King George III even though he had been dead for years!). Albert's struggle was the same for Philipas husbands of Monarchs, they had to find something to do. Both Albert and Philip became involved in various civic projects and proved that they didn't have to live continually in the shadow of their ever-popular wives.<br /><br />Fortunately there's an excellent scene toward the end of the film where Albert infuriates Victoria with what she perceives as his 'interference' in her affairs. Albert doesn't want a second 'Bedchamber Crisis' so he goes over his wife's head and arranges a compromise involving Victoria's bedchamber ladies. Victoria is barely talking to Albert when an assassin's bullets almost cuts them both down (in the film Albert is shot in the arm but this never happened!).<br /><br />The performances in the film are uniformly excellent, especially the principals, Emily Blunt and Rupert Friend. The Young Victoria ends rather abruptly and the closing credits lean too much toward hagiography (no mention of Victoria's depression after Albert's death). But 'Victoria' is still an engaging drama and fascinating history lesson. | 1pos
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Just when it was easy to assume that a costume drama about royalty couldn't go anywhere, we are given a treat, a moving and intelligent drama anchored by strong and charismatic performances by Emily Blunt, a marvel in the leading role, Paul Bettany, Rupert Friend, Miranda Richardson, and Mark Strong, as the immediate forces that help shape the development of one of England's most powerful monarchs. "The Young Victoria" dramatizes the tumultuous transition of the young woman into power.<br /><br />Emily plays the queen, with a good combination of raw strength and innocence, someone who recognizes the complexity of the task at hand, but who possesses enough confidence to move forward. She is able to portray Victoria, as an astute young woman who knows she needs support from some key players and must be able to stand up to those who might now have her best interests at hand.<br /><br />Victoria must fend a barrage of intrusions on her way to the crown, and even when she takes command of her new position, she discovers the road to self sufficiency will depend on making some very important decisions and of course, the right support. Luckily for Victoria, there is Albert, a man who appears to like her and is her soul mate. There is amazing chemistry between the two performers, and there's little doubt what the outcome will be, but there is the figure of Bettany's Prime Minister, a man who provides Victoria with some wise support and is also fond of her.<br /><br />Miranda Richardson and Mark Strong shine in supporting roles as two parties who might be of questionable character and exert a considerable amount of power in the upbringing of the young girl. Every one of the supporting characters could use a bit more of development, but what we can see in the screen might be enough to keep us focused on the central character and a superb performance by Blunt, an actress who has shown enough fire and passion in previous performances. In here, she is given the breakout role of her career, a real life historical figure, who broke the rules and managed to rule for a very long time. She shows the seeds of the strength and character the monarch might have needed in her later years. She also has a sweetness and innocence that became the foundation of her charitable work and future intervention in social changes.<br /><br />"The Young Victoria" is not a royal epic portrayal of England's ruling class. It is an intimate story of how human beings grow up and whatever special circumstances surround and shape them. In the end, the movie is a lovely entry in a year that has shown much emphasis on war and destruction. In here, there is a message that good writing and good mediation can take us very far, and there is of course, a good old fashioned love story. | 1pos
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With all of the films of recent,dealing with the British Monarchy,is it really time for another? Answer:YOU BET! The Young Victoria is another contribution to the wave of cinema from Britain dealing with the Royal family. In this case,it deals with the early life of Princess Victoria,and events leading up to the Coronation of her becoming Queen of all England,as well as her romance & eventual wedding to Prince Albert. The film also deals with the tempestuous lives & careers of both England's Queen & Prince,as well as several other events that transpire (political turmoil,etc.). Emily Blunt plays a radiant Victoria in her youth,while Rupert Friend is her beloved & best friend,Prince Albert. The rest of the cast is rounded out with the likes of Miranda Richardson,as the Dutchess of Kent,and the always welcome on screen,Jim Broadbent as King William,as well as a cast of others that shine on screen. Jean Marc Vallee (C.R.A.Z.Y.,Loser Love),directs from a winning screenplay by Jullian Fellowes (Vanity Fair,Gosford Park,Separate Lies). I absolutely went out of my head over the film's visual look (by cinematographer Hagen Bogdansker),who gave each frame of film a painterly look (with the help of production designer,Patrice Vermette),as well as some tight editing (by Jill Bilcock & Matt Garner). What I also appreciated in Fellowes' script is the use of a game of Chess,as a metaphor for some of the film's political motivation (the characters in the film move about like the pieces on a Chess board). This is smart,well written,directed,filmed,edited & acted entertainment (and enlightenment)that makes for a well spent evening at the cinema. Rated PG by the MPAA for a few scenes of sensuality,some brief violence ( a little bloody,although nothing too gory),a rude outburst of language,and some on screen smoking | 1pos
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THE YOUNG VICTORIA is a elegantly costumed and reproduced bit of history that benefits from some fine settings, solid direction by Jean-Marc Vallée of stalwart Julian Fellowes' version of the youthful lass who was to become England's longest reigning monarch - Victoria. Much of the early portion of the film, that part when Victoria is a child whose ascent to the throne is contested by her mother (Miranda Richardson) and Sir John Conroy (Mark Strong) seems to drag and get lost in the multiple costumes and scenery variations. But once Victoria (Emily Blunt) comes of age and is courted by Prince Albert (Rupert Friend) the film blooms. Blunt is a strong actress and finds that delicate line between girlish infatuation and royal dignity that makes her a fine foil for those at court who would seek to control the 'child queen' - including her secretary Lord Melbourne (Paul Bettany). But as she matures into her role as queen her eye dwells on the dashing German Prince Albert, and a love affair that has lasted in the memories of everyone is matched by the concept of joining Royalty with concern for the care of her subjects - much due to the sensitivity of Albert. The film takes us to the birth of their first of nine children and then ends with some statements about the influence of Queen Victoria and Prince Albert's effect on the various Royalties throughout Europe! It makes for an evening of beautiful costume drama and allows us to appreciate the growth of two young stars in Emily Blunt and Rupert Friend. A solid if not transporting epic. <br /><br />Grady Harp | 1pos
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I really thought that this movie was superb. Not only is the history correct, but the style is sumptuous and yet intimate. I was a fan of Emily Blunt's portrayal of Victoria and how she kept her spirit even though she was forced into a virtual exile while in her youth. Blunt depicts the charismatic and sometimes dogmatic manner that Vicotria became famous (perhaps infamous) for. The romantic elements of the movie are so genuine and tender that by the end of the movie you genuinely understand why Vicotria chose to live the rest of her days in mourning of Albert.<br /><br />The technical aspects of the film are worthy of note as well. I appreciated the beautiful score, which moves quite wonderfully along with the dramatic movement of the story. I also considered the cinematography to be outstanding, some scenes leaving me quite breathless because of the lushness and splendor they depict.<br /><br />There have been so few movies this year as beautiful and tender as this film and it rates as one of 2009's best! | 1pos
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A new side to the story of Victoria and Albert is brought to life by director Jean-Marc Valle. Most people's cursory thoughts of Queen Victoria is that of woman who reigned for several decades and lived her life in mourning. Emily Blunt is more than capable in the title role as she gives audiences a different perspective. She portrays Victoria in her youth, ascension to the throne, and early years. Blunt's Victoria both fresh and restrained throughout the film. Her strongest scenes are with Albert (Rupert Friend) and Lord Melbourne (Paul Bettany). All the actors acquit themselves well including Miranda Richardson in what could of been a throw-away role.<br /><br />Though this is not a story of dramatic arcs and histrionic "acting" moments, the story is still interesting enough to make it worth viewing. There are a few historical liberties that has been taken by the screen writing, the film tries to stay true to the relationship between Victoria and Albert and of the social and royal structure of the time period. The set design and costumes are outstanding.<br /><br />This film will be most appreciated by those drawn to history, period dramas, and of Blunt and the other actors. Heartily recommend.<br /><br />Grade: A | 1pos
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when i first heard about this movie i thought it would be like The Duchess(2008), but when i saw the first 30 minutes of The Young Victoria i knew this wouldn't just be a solid movie. Almost everything in this movie is great, the costumes are really amazing and the settings are also beautifully shot.<br /><br />The only thing that really let me down are the performances. Emily Blunt(The Devil Wears Prada) is the star of the film, bringing Victoria to life and with this movie she shows that she is a great actress and maybe picking a first Oscar nomination for her performance. Rupert Friend is almost bland as Prince Albert but he has great chemistry with Emily Blunt. Paul Bettany is also solid as Lord Melbourne although i expected more of him. Jim Broadbent and Miranda Richardson both have supporting roles but are forgettable.<br /><br />To me the film feels like unfinished. Maybe that the screenwriters changed too many things in the script, i don't know but that's how i feel about the movie.<br /><br />But overall it's a great movie about the early years of Victoria with a Great performance from Emily Blunt. | 1pos
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I have watched this movie on DVD a couple of times now,the first time, I watched the second half after the hour and then went back to the first hour. an engrossing entertaining film, thank god no kiera knightley in it, refreshing and it gives us all a genuine insight into the difficult life of Queen Victoria and the difficult choices she had to make. Nothing bad about the movie at all, no real bad language or anything of a sexual nature which would offend for family viewing. Might prompt the kids to research a little about the queen victoria herself and perhaps lesser known characters such as Conroy and Lord Melbourne | 1pos
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It's hard to find an outright bad historical drama that's based on the life of any number of British monarchs. Just take a well respected British or Australian actor, make things look pretty, and you're guaranteed a formula for Oscar success.<br /><br />The Young Victoria is no exception, getting just about everything right, the cinematography striking and beautiful, with soft lights and lush colors and fabrics. Starring Emily Blunt in a role she can finally soar in, the film begins with Victoria's 18th birthday and moves through the intrigue and issues that surrounded her eventual rise to the throne and her famous marriage to Prince Albert (Rupert Friend). As the young Victoria herself laments, she's moved like a chess pawn by a variety of parties as she finds her footing and her voice as one of Britain's most influential rulers.<br /><br />While this moving around the chess board is fairly typical territory, it is the development of Victoria's relationship with Albert that makes the film slightly more interesting. I confess: I have a degree in history with a specialization in the Victorian era, so I'm a bit attached to these figures. Despite their many flaws as rulers, Victoria and Albert were some of the first leaders devoted to improving civilization for their people. They left their legacy in the arts, in public health and education, and in Victoria's conservative views and mourning culture after Albert's death. But these things are only briefly hinted at during the film.<br /><br />It is fairly well established that Victoria and Albert were not only madly in love, but held a level of respect for each other not usually seen between monarchs in arranged marriages. Even if it did occur behind the scenes, their's was certainly one of the best known. Blunt and and Friend have just the right type of chemistry to do the famous pair justice, the proper mix of restraint and desperation. It's a different love, not usually shown on screen, especially in this sort of film. It's encouraging to finally see a relationship in which man and woman are on a equal playing field.<br /><br />But we don't get to see that love enough. While the filmmakers try to fit the affair amongst the political trappings, it doesn't quite build up the sort of momentum needed to keep the tension high. Also, without delving into the more advanced important public work of the pair, things feel a bit in limbo, superficial instead of intimate, and sometimes confusing. It's not as big an issue during the film, but afterward, the effects wear off rather quickly and you find yourself trying to remember what you just watched, despite the perfect performances by the leads, most noticeably Blunt who even captures the famous monarch's expressions.<br /><br />For as much as it tries, Victoria succeeds on many levels but lacks that certain sparkle that would take it from solid to classic. | 1pos
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I just saw this episode this evening, on a recently-added presentation by one of our local independent channels, which now presents two episodes each weekday.<br /><br />As the gentleman opined in the other, previous comment here, I agree this may not have been one of the best programs of the series, but I find it entertaining nonetheless.<br /><br />My father was a friend of one of the principals (in my hometown, Cincinnati), for whom young Rod Serling had worked in the media there -- and I remember Dad telling how talented and creative he was remembered there. Overall "Twilight Zone" is certainly one of the true classics in television, and given its production during the height of the Cold War period, provides not only a view of this era in the country, but also (today) a nostalgic picture of production techniques, creative viewpoints and the actors of this era several decades ago.<br /><br />* Minor "spoiler."*<br /><br />This particular story depicts, as did other presentations in this series and elsewhere, a story where the locale is meant to provide a "surprise" ending. Sometimes the characters are on earth, from elsewhere, while the story at first implies at least one is an "Earthling." These usually contained the message (as here) of a situation prompted by the doomsday buttons having finally been pressed by the super powers during this Cold War period.<br /><br />Viewed today, stories like this one provide a nostalgic look at this worldly viewpoint 4-5 decades ago, and still provide some food-for-thought. -- as did this episode.<br /><br />While the dialog may not have stretched the considerable talents of the leads, it still presents a simple, important message, and a worthwhile 20-some minutes of entertainment and interest. | 1pos
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I watched this with my whole family as a 9 year old in 1964 on our black and white TV. I remember my father remarking that "this is how it could have happened - Adam and Eve." I vividly remember the scene when Adam finds Eve, her eyes were blackened. I asked my father why were her eyes blackened and he told because she was tired and hungry. Having not seen this episode in 45 years, I still remember it vividly - the TV transmissions back and forth with the home planet, scenes of bombs shaking the headquarters, with the final scene of the two walking off, Adam carrying his pack and Eve following. It may not have been a theatrical work of art, but it certainly left an impression on me all these years. | 1pos
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I went into The Straight Story expecting a sad/happy type drama with nice direction and some good acting. These I got. What I wasn't expecting was an allegory for the trials of human existence. Leave it to Lynch to take a simple story about a 300 mile trip on a lawnmower and turn it into a microcosm for the human condition.<br /><br />If you didn't notice, watch it again, paying attention to the ages of the people Alvin meets, the terrain he's driving through, the reactions people give him, the kinds of discussions he has (one of the first is about pregnancy and children, one of the last is outside of a cemetery). The last road he drives down is particulary haunting in this context, as it narrows and his fear and nervousness mount. The last mechanical failure could be seen as a death, and the miraculous rebirth of his engine relating to an afterlife, in which he achieves the desired reunion.<br /><br />I only hope some of the people who branded this as a slow sappy melodrama take the time to watch with a more holistic attention. | 1pos
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