Forgotten but rewarding

You can be absolutely sure there's no better adaptation of "Les Misérables" on screen, and taking into consideration the massive amount of films based on this novel that have been released, it's quite an accomplishment. This one should be one of the classics of cinema; sadly, it's very likely you've never heard of it. I bought the Criterion Eclipse Box, which brings this nearly five-hour masterpiece, along with the superior (but shorter :) ) "Wooden Crosses", and I'm convinced that Bernard should be up there with Renoir and Ford. Sadly, he has been largely forgotten. "Les Miserables" is proof enough of his talent: the story is handled masterfully, and it never gets tiring despite the massive running time. The only part I wasn't much into was Part Two, but the first and last were on their own, masterpieces. Excellent, Expressionistic cinematography and a tour-de-force performance by Harry Baur (I dare say one of the greatest in cinema), plus a beautiful score. A cinematic spectacle of the highest quality. There are some flaws, of course; it has aged (unlike "Wooden Crosses", which remains devastating and interesting for modern viewers). If you love the novel, this is the best film you can watch.

"Electra" is, simply put, the best adaptation of the tragedy ever made. It's hard to imagine how else could one turn this psychologically complex drama into film, but here Cacoyannis does it masterfully. It is almost a silent film, trusting most of the actions and emotions to images, and that is so hard to find today...In fact, throughout the history of sound cinema, it's been quite hard for directors to base their films around image moreso than dialog, but in "Electra" Cacoyannis does it almost flawlessly. Every single (and I'm not lying, every single one of them) frame is a masterpiece of photography. Including the actors themselves (Orestes and Electra are both beautiful). Perfect composition is an understatement. However, here's where the film's problems begin. It's just TOO perfect...I know that sounds impossible, but that's what slows down "Electra". In its search for the perfect shot, it delays actions and overextends simple things. Of course the final shot is aesthetically brilliant and stimulating, but it takes its time. In my opinion, that's the only flaw, but I could point out that the ritual-like manner of the movie could bother some, and its length. But if you're patient enough, you'll find unrivaled visual beauty that is more than style exercise, since it actually conveys emotions and tells the story. For better or worse, there's no other film like this.

I'm surprised of how few people have seen this film here on Flixster. It's a wonderfully shot and directed story, filled with visual poetry, a lovely soundtrack and great acting by the one and only Jeanne Moreau, who probably never looked this beautiful (except on "Jules and Jim"). Maybe it comes off a little empty in the end, but it is delightful cinema. Malle was perhaps not so much an artist as an entertainer (this kind of cinema is often ignored, but one must have fun!), and "Les Amants" is a film I would have sure loved to see in theaters, for many reasons. Too bad commercial movies have lost this charm, simplicity and taste.

"Shadowlands" is a very real and heartfelt drama that doesn' fall into typical excessive sugar or melodrama to keep the audience engaged. Its conlfict comes from a real clash of personalities and the love that is born despite (or thanks to) those differences, and the social issues that prevent this love from succeeding. I've read that it's not very historically accurate, but that's not really important. It has a striking cinematography, and the acting is as usual, excellent in the case of Hopkins and very good by Winger, and the supporting cast isn't half bad either. The kid pulls off a role that coudl've easily been just about crying. It does get a bit slow in the middle, but the final twenty or so minutes are masterful, deeply moving. This is a touching drama about how we connect and how we withstand the difficulties life presents to us.

A charming comedy, honest, slice-of-life type, but rewarding.

This is a greatly entertaining film. Sure, there might be some plot nonsense, yet it holds your attention with irony, surprises and of course, superb cinematography and the unforgettable score by Miles Davis. What the film lacks in depth it has in entertainment value and aesthetic details, and thus "Elevator to the Gallows" won't be easily forgotten. Of course there are better films out there, but few are as fun, thrilling and gorgeous as this one.

It's one of those movies that seem a comedy but actually are quite realistic. It's not as good as it could have been, since the whole musical thing, and the end, is just overdone. Maybe in a more serious (still a comedy) manner, it would have been great. And Daniel Letterle rocks!

This is a fun comedy, one of Hugh's best, though not many seem to know it even exists.

A visually impressive film, but quite devoid of emotion or content. In the end, you feel rather touched, but hardly involved in any serious thinking. It's a cute film, but it rings false and pretentious in a few scenes. I still recommend it, though, it's unique in a way, and truly, its colors and sounds are worth it.

"In The Bedroom" has many things working against it, yet extraordinary direction saves it, and it even becomes a great film. With its minimal plot and two hour running time, it could have become utterly boring, and start repeating the same ideas over and over, but it always remains interesting and wraps you in a somber tone, with rich and dynamic performances by Tom Wilkinson and Sissy Spacek. At first the film is about grief, then it evolves with its characters, and suspense builds up, until you don't know what might happen next. And all this is thanks to GREAT direction, which should be noticeable even in simple films. Of course, "In The Bedroom"'s screenplay isn't easy at all, but one wonders why more Hollywood directors don't learn to make their films be as exciting and unique as this; they could even do it with those cheap romantic comedies...but they limit themselves to say "action!" and nothing more. "In the Bedroom", to sum up, is excellently made, it's a work of undeniable power, though some people might be put off by its minimalism.

What an impressive film. It makes no sense, it has a seldom interesting plot, the actors have no idea of what's going on...But you can't leave, just like the guests in the house. The whole film is a dream, more like a nightmare, and slap in the face of convention and etiquette, a made-up set of rules that help no one in real life. Etiquette only functions within a party, but here the party never stops, and everyone soons gets tired of it, tired of pretending and forcing their politeness. So they end up savagely tearing apart all the rules they had stuck so close to all their lives. And in the midst of this confusion and the amount of strange events that occur, one gets caught in Buñuel's dream and can't help but feel impressed by "The Exterminating Angel"'s satirical look at our society. It does get a bit boring occassionally, it's almost as if you wish something weirder happened to help it move along, but it's still a great, great film.

"Wooden Crosses" has left me stunned and devastated. It's one of the most powerful war movies I've ever seen (and I generally don't like them much), and moved me to tears from the first hour on, until the chilling finale. Calling it hopeless is being kind: it's gruesome, bleak, nearly oppresive with its realistic violence. It does suffer a bit from its slow first half (which still includes some unforgettable scenes) and some acting flaws, but later it grows in pain and excellence. The cinematography is more than impressive in the battle scenes, which are an incredible depiction of the horrors of war. I doubt there are many anti-war films as direct, elegant and moving as this one. A real lost masterpiece.