1984 (1956) Review

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(More customer reviews)This 1956 vision starts with scenes from the recurring nightmare of its time: nuclear war. Oceania and the rest were built on the glowing rubble of that war.
Michael Anderson directed this very compelling version of Winston Smith, the Everyman in that world. It's a world where people searched daily, in their own homes - display of pockets and briefcase content in front of the flickering but unblinking monitor lenses. His work is in rewriting history, to make sure everything turned out the way Big Brother says that it did, and rewriting again tomorrow to conform to the new past.
This movie form of Orwell's book does take some liberties with the story, but none that matter. Winston and his lover are captured. Their thoughtcrime is too serious for matters like trial, and the sentence is immediate. They don't deserve execution in that world, instead they are crushed into Big Brother's mold and converted. This is not a movie with a happy ending. At the time it was written, though, it was a very believable ending.
Some of this story's predictions have some true, in odd ways. Big Brother's cameras track us every day, in banks and stores, along streets and highways, and even from home webcams. Oddly, the futuristic dome-towers of Orwell's Ministry buildings in London also came true in the Swiss Re building, the "gherkin.".
In other ways, though, the 1950s sensibilities of the movie look stale to a modern audience. A newer version of the movie emphasized the grit and damage of a bombed-out world, impoverished by the costs of its weapons, but this was a relatively clean kind of place. The newer production also suggested the physical decay caused by imprisonment under Big Brother, but this Winston came out looking reasonably well-fed and dapper. The 1956 Winston was a crushed man, too, but our eyes have changed since this movie was made.
Still, it's a classic rendering of a classic cautionary story. It's a strong portrayal of a dystopia that could still happen, even though calendar year 1984 has come and gone. And, like Orwell's original, it ends on a note in which hope is not just gone, but forgotten.
//wiredweird

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George Orwell's landmark novel is the basis of this eerie, darkly satiric tale whose futuristic world is divided into three sections following an atomic war. London, capital of the Oceania sector, is where Edmond O'Brien is a clerk for "Big Brother," the totalitarian government that keeps a close watch with all of its subjects. When O'Brien carries on a forbidden love affair with Jan Sterling, officials try to brainwash the couple into abandoning their free will. With Donald Pleasence, Michael Redgrave; directed by Michael Anderson ("Around the World in 80 Days"). 91 min. Standard; Soundtrack: English; scene access. Plays All Regions.This product is manufactured on demand using excellent DVD-R recordable media. Very nice quality and professionally packaged.

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Animal Farm (1999) Review

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(More customer reviews)"Animal Farm" is based on the novel by George Orwell, which tells the short story of a popular revolution gone wrong. So when I (belatedly) learned that a movie had been made of it, I could barely wait to take a look at it. "After all," I figured, "even Hollywood can't ruin Orwell's Animal Farm!" I was mistaken.
The good aspects of the film can be summarized relatively quickly. Hearing Patrick Stewart yelling 'Revolution!' as a pig was curiously satisfying. As in Orwell's work, I enjoyed considering the parallels between the revolution on the farm and the Russian Revolution. And that about does it.
If I'm not careful, I could rant on for a goodly time regarding what I didn't like about the film. A brief opening criticism is the way in which the story has been... popularized? dumbed down? ruined?... with long sections of junk appropriate for preschoolers. Singing ducks and pathetic 'action' sequences do nothing to advance the plot and are simply tedious by any (adult) standard. For some reason, this film's producers apparently decided to make children their chief audience/target, even though the themes and messages of Orwell's work are in no way meant for children - even if they do involve a lot of cute animals. As a result, anybody old enough to understand "Animal Farm" will almost certainly be bored or insulted (probably both!) by this film.
But the most disgusting sin of the filmmakers was the way in which they completely demolished the story's message. As a libertarian socialist, Orwell wrote "Animal Farm" to warn against popular revolutions being hijacked by their self-proclaimed leaders. The Russian Revolution, in which the Bolsheviks set themselves up as a new ruling class after destroying the old Tsarist order illustrates the phenomenon - and also serves as a blueprint for "Animal Farm" (the book). The climax of the story comes when the animals watch their 'leaders' carousing with neighboring farmers (read: oppressive tyrants) and are unable to tell them apart.
This episode is included in the film, but is almost tossed off as the filmmakers rush to their happy ending in which the animals run off and hide in the woods for a few years, returning only after Napoleon's/Stalin's dictatorship has collapsed and new owners have taken possession of the farm. For some reason, this is treated as a wonderful event, even though the whole point of the Revolution was to get rid of the humans and set up an Animal Farm. The filmmakers stage a celebration when the logic of the book (and to some extent the movie up until that point) calls for a revolution! The philosophy of "Animal Farm" is transformed from libertarian socialist to bourgeois-apologist. The ultimate message is that dictatorship is great - as long as it's benevolent.
I can clearly hear Orwell spinning in his grave. Read the book, but avoid this film at all costs.

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Flowers for Algernon Review

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(More customer reviews)I have been looking for this ever since the VHS recording that I loaned out to a fellow teacher never made it back to me.
This version is so much more appropriate for the middle school level than "Charly" (i.e. drug and sexual innuendo).
I have a shortened version of the story I use in my textbooks with my students. This movie is a much better fit than "Charly."

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This is the touching story of a gentle, mentally-handicapped man who faces the chance of a lifetime and the hard changes that come with it. After undergoing experimental brain surgery to increase his intelligence, Charlie (Matthew Modine, Have Dreams, Will Travel; TV's Weeds) is emboldened with his newfound genius, but finds himself questioning the value of his intellect and struggling to accept his former self. He confides in Algernon, a lab mouse who has had the same procedure, and his teacher, Alice (Kelli Williams, TV's The Practice), who he begins to fall for. Adapted from Daniel Keyes' timeless novel, Flowers for Algernon is an acclaimed drama of self-discovery, the unbreakable bonds we form with those who understand us, and the capacity we hold to change.

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Hamlet (1991) Review

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(More customer reviews)Once again, I'd like to give a half-star rating, but alas . . .
As my by-line indicates, I am a former high school teacher. Without exception, this is the version of Hamlet that is a class-room favorite. (I show 2 others: Branaugh (2nd place) and the film starring Ethan Hawke (everyone hates it).) It is accessible to younger viewers and is just a beautiful film all around.
The filming, camera work and sets are impeccable. One is instantly transported into the world these characters inhabit. As to the script, it IS heavily edited; however, most of what is omitted (see note below) is "shown" to the audience through visual media. This isn't a "filmed version of the play"; it is a film based on the play. In that framework, it is quite well done. I particularly like the beginning scenes that make Hamlet's description of his mother - "Like Niobe, all tears" - come to life.
The acting, to my thinking, is superb. The emphasis here is on Hamlet's relationship to his mother, Gertrude. That comes through quite clearly. Gibson's Hamlet comes across as a soldier - a man of action - who agonizes over the eternal consequences of his acts. He is believable in the role, masterful in some ways. Likewise the supporting cast. Helena Bonham-Carter and Glenn Close provide particularly vibrant portrayals of their characters.
So, why not 5 stars? Without the "Fortinbras" subplot, some of the urgency in the play seems missing. While definitely a secondary story-line, it provides a framework that adds tension to the play as a whole as the war is waged both outside the castle walls and within.
Overall, this production gets an A. Very accessible. Very easily understood. And haunting in its own way.

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Treachery.Madness. Murder.The story of Hamlet has been told for 400 years...but it's never been told like this!Mel Gibson (the Mad Max and Lethal Weapon films) takes on his richest part to date, the title role in a dynamic new version of Shakespeare's Hamlet.Directed by Franco Zeffirelli (Romeo and Juliet, Jesus of Nazareth), the location-shot production has a sumptuous look that won Academy Award nominations for Art Direction and Costume Design.Gibson plays the prince of medieval-era Denmark, who senses treachery behind his royal father's death.Glenn Close (Fatal Attraction, Dangerous Liaisons) plays Hamlet's mother Gertrude, all too dangerously entangled in that treachery.A brilliant supporting cast, including Alan Bates as Claudius, Paul Scofield as the ghost of Hamlet's father, Ian Holm as Polonius and Helena Bonham-Carter as Ophelia, adds its powerful presence to this immortal tale of high adventure and evil deeds.Big, bold and heroic, this is a vivid and virile Hamlet for the modern age and all time.

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North & South (2005) Review

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(More customer reviews)"North & South" was released in the UK in November 2004 and in the US in July 2005. Since its first broadcast, viewers across the globe have hailed it as one of the best - if not the best - British period miniseries ever produced. It was voted BBC's "Best of 2004" in drama, actor and actress categories, among others.
Many in the US will probably confuse Elizabeth Gaskell's "North & South" to John Jake's civil war drama of the same name. While Jake's tells the story of America's north and south, Gaskell's story is rooted in Victorian England. John Thornton, a handsome, stern, passionate manufacturer from Milton represents the north. Margaret Hale, an outspoken, beautiful and spirited young woman from Helstone represents the south. When the Hales move from the idyllic village of Helstone to the bustling, industrial city of Milton, Margaret and Thornton's lives collide.
John Thornton is instantly attracted to Margaret while she is repulsed by his haughty demeanor and the way he treats his employees. She develops a disdain for the wealthy 'masters' (manufacturers) and strikes a friendship with the daughter of the local union leader, much to Thornton's dismay. As Margaret becomes better acquainted with Mr. Thornton, she gradually comes to admire him. She discovers that he is hardworking, a devoted brother and son, generous and kind to Margaret's parents, and is loyal and honorable. However, when the workers in Milton strike, the turn of events that follow drive a wedge between Margaret and Thornton and eventually threaten to pull them apart.
"North & South" is produced by the excellent BBC and the screenplay was written by Sandy Welch, who also penned the outstanding "Our Mutual Friend." Everything you would expect from a topnotch BBC production is here - locations, sets, costumes, casting, direction, cinematography. The story is an adaptation of Elizabeth Gaskell's little known but well loved 19th century novel. Mrs. Gaskell also wrote "Wives & Daughters" which was turned to another superb miniseries starring Justine Waddell, Keeley Hawes and Francesca Annis in 1999.
I would be very remiss in writing a review for this miniseries without applauding the exemplary cast. The little known Richard Armitage has earned a throng of fans overnight because of his unforgettable portrayal of John Thornton. He has since replaced Pride & Prejudice's Colin Firth as my favorite brooding hero and infuses so much passion and charisma into his role. Daniela Denby-Ashe is wonderful and charming as Margaret Hale. Also excellent are Brendan Coyle as the gruff but good-hearted Nicholas Higgins, Sinead Cusack as John Thornton's haughty but devoted mother, Joy Joyner as the funny and superficial Fanny Thornton, Lesley Manville as Mrs. Hale and Tim Piggot-Smith as Mr. Hale.
"North & South" has since replaced 1995's "Pride & Prejudice" as my favorite miniseries. It tugs at the heart and sweeps the viewer off their feet. The relationships that develop between its main characters (notably, Thornton and Margaret; Thornton and Higgins; Margaret and Bessy Higgins) and the journey that Margaret and Thornton go through are truly unforgettable. In fact, you will wish that the ending didn't come so soon!
"North and South" went through a sad process of editing when BBC America aired it in July 2005. A full hour was cut from the miniseries to make room for commercials. Finally, with this dvd release US viewers now have a chance to see this instant classic as it was meant to be seen - with a 233 minute running time and with all the scenes intact. The dvd also includes a delightful interview with Richard Armitage, a handful of deleted scenes (including an extended 'proposal' scene), commentaries and cast biographies.
If you are an anglophile or a fan of high-quality period drama, you owe it to yourself to see "North & South." Fans of "Pride & Prejudice," "Wives & Daughters," "Middlemarch," Dickens / Austen adaptations and the like should not miss this. I have no doubt that most of you will fall in love with this miniseries as many of us have. Everyone whom I have recommended this miniseries to have at least liked it (and at most, are completely obsessed with it). This dvd is a keeper and deserves a place in any period drama fan's dvd collection.

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Starting Out in the Evening Review

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(More customer reviews)STARTING OUT IN THE EVENING is a quietly moving work of art, a film adapted from Brian Morton's novel by screenwriters Fred Parnes and and Andrew Wagner (who also directs) that dares to take us to the wall with decisions we make about how we conduct our lives and negotiate the changes that can either be stumbling blocks or stimuli for creative awareness, It has much to say about the creative process of writing, a theme upon which it first appears to be based, but it more importantly urges us to examine how we live - how we make use of this moment of time in which we inhabit a body in the universe.
Leonard Schiller (in an extraordinarily understated performance by Frank Langella) is an aging author, a man whose first two novels seem to set the literary world on fire, but whose next two novels languished on the shelves and slipped into the same plane of obscurity Schiller finds his life since the death of his wife. He has a daughter Ariel (Lili Taylor in another richly hued performance) who is nearing age forty and is unable to bond permanently with a man because of her obsession with having children before her biological clock ticks past fertility. Into their lives comes Heather Wolfe (Lauren Ambrose), a bright young graduate student who has elected to write her master's thesis on the works of Leonard Schiller. Schiller is absorbed in writing what may be his last novel and can't be bothered with Heather's plea for a series of interviews. But curiosity intervenes and soon Heather and Leonard are involved in the process of interviewing, a process which gradually builds into overtones of Heather's physical as well as intellectual attraction to Leonard. Meanwhile Ariel observes the process that seems to be infusing life into her father and encourages her to exit her current relationship with Victor (Michael Cumpsty) and re-connect with the true love of her life Casey (Adrian Lester), a man she loves but who refuses to give her the children she so desperately wants. The manner in which these characters interact and learn from each other the importance of sharing Life instead of obsessing with selfish goals brings the drama to a rather open-ended close, another factor that makes this story significantly better than most themes of May-December romance and unilateral coping with self-centered directions.
The pleasures of this film are many, but among the finest is the quality of acting by Langella, Taylor, Ambrose, and Lester. In many ways the story is a parallax of views of life as art that subtly intertwine like a fine string quartet. Why this film was ignored by the Oscars only suggests that movies for the mind take second place to movies for the merriment of entertainment. For people who enjoy the challenge of a meaty story, this film is a must. Grady Harp, April 08

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Battling illness and unable to finish a novel that has taken him ten years to write, aging novelist Leonard Schiller is slipping into literary obscurity. Formerly a famous author, Schiller has been all but forgotten by the readers, colleagues and critics who once praised him. But when Heather Wolfe, an ambitious graduate student, convinces Schiller that her thesis could reintroduce his writing to the world, the reclusive writer is forced to confront his past regrets. Frank Langella delivers a career-capping performance as a man who must redefine his work - and his perceptions - in the twilight of his life.

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