The Phantom Carriage (The Criterion Collection) (1920)

**EDIT 9-27-11** The overall quality of the Blu-ray is fair, not quite as good as I had originally hoped, but it's still decent. As with most silents, the tell-tale signs of aging are still present even after the restoration, mainly age spots and vertically running scratches. But don't let this discourage you from purchasing this silent masterpiece. Although it's not perfect, Criterion still did a good job on the restoration (as they normally do) and the overall quality is better than previous versions that I've viewed.

The Phantom Carriage is a silent Swedish film made by legendary actor/director Victor Sjöström. While Sjöström is known more for his acting performances later in life, namely as the protagonist in Ingmar Bergman's Wild Strawberries, he originally made his mark as a prolific and very innovative director, beginning in the silent era and spanning into early talkies. This film is considered by many to be one of his very best and is a perfect example of how Sjöström both pioneered and refined techniques that were used for decades to come.

The film uses double exposures quite extensively. While this technique was not new, for this film it was far more advanced, consisting of multiple layers and dimensions. While the techniques may seem obvious and even primitive by today's standards, they left audiences awed and mesmerized 90 years ago. Another innovation of this film is the unique structure in which it's told. This is one of the first movies to make extensive use of flashbacks, going as far as having flashbacks within flashbacks.

I will briefly cover the plot, as to not ruin the film for someone who has never seen it before. The film opens on a dark and depressing New Year's Eve with a young Salvation Army sister named Edit lying on her deathbed. Her last wish is to see David Holm, an alcoholic she had tried to help the previous New Year's Eve. David promised Edit that he would return on this very day to show her if her prayers for him had been answered. Since he has yet to arrive, someone is sent to find him before it's too late. David (portrayed by Sjöström) is found in a local cemetery with two of his drinking buddies recalling a legend told to them by their friend Georges. The legend states that the last person to die each year has to work the following year for Death collecting souls from the dead. The irony is that after telling the legend, Georges himself died on New Year's Eve. David and his friends are drinking and laughing until an altercation occurs, leading to David's accidental death right before the stroke of midnight. His soul steps out of his body right before Death's carriage arrives revealing Georges as its driver. From here the story has a Dickens-like feel as Georges drives David around in the carriage showing him the mistakes he's made via flashbacks. The rest of the story shall remain unspoiled. . . I hope you enjoy it as much as I have over the years.

The Phantom Carriage, based on the novel "Thy Soul Shall Bear Witness!" (Körkarlen) by Nobel-prize winning author Selma Lagerlöf, is an example of a somewhat modernized version of the old right vs. wrong morality tales. The main message in the film is to show how problems, such as alcoholism, can completely destroy someones life, but with a little faith and guidance, salvation is always attainable. In this, and many of his other films, Sjöström so masterfully shows the problems he saw within society, and the impact they could have on us if not resolved. . .

**Special Features and Technical Aspects As Listed by Criterion**

-New digital restoration, done in collaboration with the Archival Film Collections of the Swedish Film Institute

-Two scores, one by Swedish composer Matti Bye and the other by the experimental duo KTL

-Audio commentary featuring film historian Casper Tybjerg

-Interview with Ingmar Bergman, excerpted from the 1981 documentary Victor Sjöström: A Portrait, by Gösta Werner

-The Bergman Connection, an original visual essay by film historian and Bergman scholar Peter Cowie on the film's influence on Bergman

-Footage of the construction of the Räsunda studio where The Phantom Carriage was the inaugural production

-New and improved English subtitle translation

-PLUS: A booklet featuring an essay by screenwriter and filmmaker Paul Mayersberg

Sweden

1921

106 minutes

Black and White

1.37:1

Silent

I saw The Phantom Carriage on TCM not too long ago and was enthralled. This movie is one of the gems of silent cinema, and for American audiences it's still mainly an unseen gem. I hope this Criterion release will change that. The print quality is superb; even with higher-contrast orthochromatic film there is good tonal range in this restoration. This is a boon because the lighting is often subtle. I'm not familiar with the source material, but the way Sjostrom directs his actors makes me wish he'd done a silent adaptation of Crime and Punishment; The Silent Carriage is a Dostoevskyan drama that turns the protagonist's soul inside out. It's a masterpiece of direction and restrained acting, and makes me appreciate again the sophistication Scandinavian film-makers brought to the early development of the motion picture.

Buy The Phantom Carriage (The Criterion Collection) (1920) Now

It delights me no end that Victor Sjostrom's THE PHANTOM CARRIAGE is finally getting a Region 1 release and from Criterion no less. I have had the Region 2 version of this for a few years (complete with mislabeled discs) but now I will be able to enjoy the additional extra supplements that Criterion offers. Since it is also being offered in Blu-Ray I can assume that it has a digital upgrade from my release which is from the Swedish Film Institute and was already a decent restoration although I confess that I didn't care much for the modern KTL score. In my opinion, the Matti Bye score suits the material better. An improved English subtitle translation is always a plus as well. KORKARLEN, the film's original title and the name of the book it is taken from, translates as "The Coach Driver" and is an accurate description as the carriage and driver appear throughout and are the key symbol on which the plot hinges.

THE PHANTOM CARRIAGE is one of those silent movies to show people who think they don't like silent movies. I have yet to meet someone that I have shown it to who was not captivated by it. Part of that is due to the similarity of the plot to a well known English property which I won't name here but a lot of it is due to the simple but creative special effects that seem perfectly natural in keeping with the story being told. Credit should also be given to the lead performances of Victor Sjostrom and Hilda Borgstrom which seem as contemporary as anything seen today. It's easy to see why Ingmar Bergman would have been attracted to and inspired by this story of a vicious alcoholic who receives his comeuppance and an unexpected shot at redemption. The dysfunctional family theme, long a staple of Scandinavian drama, also plays well today. A surprising movie that still has the power to engage and enthrall audiences 90 years later.

Read Best Reviews of The Phantom Carriage (The Criterion Collection) (1920) Here

A psychological film that probes into the mental anguish and misery of a character, "The Phantom Carriage" is a film that inspired filmmakers such as Ingmar Bergman but also a film that would be the precursor of Bergman's probe into the psyche of his characters throughout his oeuvre.

"The Phantom Carriage" (Körkarlen) is a silent film from 1921 that is a film adaptation of the novel "They Soul Shall Bear Witness!" by Nobel-prize winning Swedish author Selma Lagerlöf (the first female writer to win the prize and is best known for her children's book "The Wonderful Adventures of Nils").

The film would be directed by Victor Sjöström who would also play the lead role of the film.

Known for directing films in the U.S. during the 1920's, it's unfortunate that for a talented filmmaker and actor, the majority of his films are considered as lost. Fortunately, those that did survive are his film adaptations of Lagerlöf novels such as the "Sons of Ingmar" (1919), "Karin, Daughter of Ingmar" (1920) and "The Phantom Carriage" (1921). The latter which received restoration courtesy of the Archival Film Collections of the Swedish Film Institute.

And now, "The Phantom Carriage" will receive its HD treatment on Blu-ray and also standard DVD release courtesy of the Criterion Collection.

VIDEO:

"The Phantom Carriage" is presented in High Definition, tinted color and the fact that earlier versions that many people have watched this in the past were not in the greatest condition and considering the fact that the original film elements were not fully complete, I was quite amazed to see how beautiful this film looked on Blu-ray.

The film also utilized double exposures made in the camera but used in a greater form for the film in order to create the ghost characters. A very challenging special effect for its time.

Presented as a color-tinted silent film, "The Phantom Carriage" on Blu-ray is the best version of the film to date. Is it pristine? The answer is no. You can see occasional white specks, hairs or tears on the original film element, flickering but with that being said, none of these will ruin one's viewing of the film. In fact, the fact that it's complete, not hindered by any nitrate composition or any degradation, for a film that is 90-years-old, if you are a silent film fan, you can't help but be appreciative that the film look so good and that the Criterion Collection has chosen to release this film on Blu-ray.

According to the Criterion Collection, the restoration of "The Phantom Carriage" was undertaken by the Archival Film Collections of the Swedish Film Institute. A new film master was created from two source elements, an incomplete black-and-white nitrate print with Swedish intertitles and an incomplete color-tinted nitrate with print with English intertitles. From these source elements, a new black-and-white duplicate negative with Swedish intertitles was completed in 1975. New 35 mm polyester viewing prints were then struck from this restored negative, using the color-tinted nitrate print as a color reference.

Criterion Collection also pointed out that the new digital transfer was created on an ARRISCAN film scanner in 2K resolution from the new duplicate negative, at the Chimney Pot in Stokcholm, using the same color-tinted print from the Swedish Film Institute as reference. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixel Farm's PFClean system while Digital Vision's Phoenix system was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"The Phantom Carriage " is presented with two scores. One by Swedish composer Matti Bye and the other by the experimental duo KTL.

The original 1998 Matti Bye composition used on this Blu-ray release is absolutely beautiful. Presented in DTS-HD MA, the music with its piano, horns and strings does a great job of enhancing my appreciation of the film. The music is coordinated just right to the scenes of the film and for the most part, is a wonderful score which sounds great via lossless.

As for the KTL soundtrack is presented in LPCM 2.0 and the experimental music makes this film feel quite dark and menacing. It stays that way throughout the whole film and the sound is quite eery. The score of course is subjective to the listener but listening to the score and watching the film, it gives you the feel of a horror film.

So, overall, I preferred the Matti Bye soundtrack because it is more emotional and upbeat compared to the KTL experimental score.

The film is presented with Swedish intertitles in English and special features with English subtitles.

SPECIAL FEATURES:

"The Phantom Carriage The Criterion Collection #579' on Blu-ray comes with the following special features:

Audio Commentary-featuring an in-depth audio commentary by film historian Casper Tybjerg who helps explain the film but also the sentiments of the viewers watching the film at the time.

Ingmar Bergman (15:19) An interview with Ingmar Bergman, excerpted from the 1981 documentary "Victor Sjöström: A Portrait", by Gösta Werner

The Bergman Connection (18:12) An original visual essay by film historian and Bergman scholar Peter Cowie on the film's influence on Bergman.

Construction of the Räsunda Studio -(4:43) Short footage of where "The Phantom Carriage" was the inaugural production.

EXTRAS:

"The Phantom Carriage The Criterion Collection #579' comes with an 20-page booklet. The essay "Phantom Forms" by Paul Mayersberg is included plus information on the two scores included on this Blu-ray release.

JUDGMENT CALL:

We often hear from filmmakers in America who talk about the American filmmakers and films that inspired them to pursue a career in the industry.

In Sweden, filmmaker Ingmar Bergman who was only a 1-year-old when "The Phantom Carriage" came out, would later become inspired by Victor Sjöström's work and how his exploration of the human psyche, their melancholy, a character being miserable and the emotional pain that they harbor inside..these are things that are a big part of Bergman's oeuvre.

As Bergman is known as the filmmaker to capture human suffering, for Bergman it began with Victor Sjöström who would go on to introduce his style of filmmaking in America and showcase the mental anguish of a person in "He Who Gets Slapped" (1924), "The Scarlet Letter" (1926) and "The Wind" (1928). And while many historians have always recommended Sjöström's "The Wind" (as it is one of Lillian Gish's finest acting performances), "The Phantom Carriage" was definitely a film which is a product of its time that does have its relevance today.

We have seen how alcoholism affected a person, especially a father and his family in film. This is nothing new. But in 1921, alcoholism was never fully explored, nor its ramifications. Tuberculosis is still a problem today, but even moreso back then. It was a bold film to take on such a subject of how an alcoholic can hurt his family and others, but also lead to one's death. And yes, there is a little introduction to how those who submitted to God have changed for the best, but for those who frown upon preachy religious films, this is not one of them.

If anything, one can easily call this a psychological thriller mixed with drama. The film for its time can be seen as dark as it showcased human suffering and interesting enough, Stanley Kubrick's film "The Shining" which has a famous axe scene is quite similar to the axe scene found in this film. Granted, this is not a horror film but compared to other silent horror films that I have seen (which are not too scary), I can only imagine how audiences reacted when they first watched this film. It's definitely not a happy upbeat film but it does manage to work itself out in the end and I guess, one can say the film is not all tragic.

There are life changing moments and for the most part, "The Phantom Carriage" is a pre-cursor of the human suffering type of films that Victor Sjöström would create several years later and a theme that would have its impact on Ingmar Bergman's work.

So, "The Phantom Carriage" does have its place as an important film not only to Swedish cinema but also for its darker theme that was not as prevalent in 1921. But as many people are discovering Ingmar Bergman's films through the new releases on Blu-ray and DVD from the Criterion Collection, the company has been good in showing films in which these filmmakers were inspired from.

So, this is one important film that fans of Bergman's work can really enjoy. So, as Jean Renoir and Jean Vigo were an inspiration to future French filmmakers, Victor Sjöström was the same as he inspired Swedish filmmakers, specifically Ingmar Bergman. And for Bergman, he had watched this film over 100 times and has said that from the first time he had watched the film, he would eventually watch it every year since then.

"The Phantom Carriage" was a big impact on his life and to know Bergman's work and why he is so enamored with human suffering, you need to look past Bergman and watch a Victor Sjöström film.

"The Phantom Carriage" is recommended!

Want The Phantom Carriage (The Criterion Collection) (1920) Discount?

Swedish director Victor Sjostrom's THE PHANTOM CARRIAGE (1921), while not as popularly known today as other masterworks from the era, is nonetheless as important to the development of cinema as are any of those more famous films.

The last person to die on New Year's Eve before the stroke of midnight must drive Death's chariot, collecting the souls of those who die throughout the next year. Sjostrom himself plays David, an abusive alcoholic who becomes the chariot rider's successor and is shown the harm and misery he brought to others.

THE PHANTOM CARRIAGE is an atmospheric masterpiece. Told in what was then an innovative flashback format, the film utilizes double and even multiple exposures in ways previously unseen to simulate the spectral, horse driven carriage and its doomed rider. The film is also noteworthy for some of the earliest night for night photography ever attempted in a motion picture. This remarkably moving parable of a film was a huge influence on the work of Ingmar Bergman, especially THE SEVENTH SEAL and WILD STRAWBERRIES, both from 1957.

Criterion's exceptional Blu-ray was transferred from a restored duplicate negative derived from two prints; a black and white nitrate and a color tinted nitrate. Two optional scores are included; a chamber orchestral work and an experimental, computer composition. The special features give us an absorbing commentary by historian Casper Tybjerg, a 1981 interview with Ingmar Bergman, an essay by Peter Cowie on the film's influence on Bergman, some footage of the construction of Rasunda studio where THE PHANTOM CARRIAGE was shot, and a booklet by Paul Mayersberg discussing the film's importance.

As usual, Criterion has done a beautiful job in putting this edition together, and it does ample justice to an extraordinary film that deserves wider recognition. Its haunting quality is unforgettable.

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Blade

Good action vampire stories, whether written, drawn or on film are just plain hard to find. For a while now the 'not quite bad' vampire and even the 'good' vampire have been fashionable. Not that I have anything against Angel or Henry Fitzroy and their ilk, but sometimes you want a story with a clear division between good and evil and a lot of knock them down and stake them action. Enter Blade.

Blade is a half vampire with a very nasty attitude toward his relatives on the dark side. Played by Wesley Snipes, he has all the moves and attitude you could ever want. His partner in his war against the things that did in his mother is Abraham Whistler (Kris Kristofferson). Later, Karen (N'Bushe Wright) a forensic hematologist who has the bad luck to find a vampire on her table, joins them. Opposing this team is Frost (Steven Dorff), a vampire rebel who thinks it is time for the un-people with pointy teeth to come out of the closet. His plan is simple. Take over the vampire council, capture Blade and resurrect La Magra the blood god. Then there will be nothing but vampires and bloodsicles.

'Blade' is an extremely violent film. Almost everyone is a martial arts expert, has access to what the US Congress would consider weapons of mass destruction, or is a victim. Sometimes, they are all three. Toss in a sufficiency of special effects, great settings, and good acting and you have the film. What makes 'Blade' work is its intense focus. It works hard at being exactly what it is an action film with a strong 'wow' factor. Sometimes that is exactly what you need.

Steven Norrington, a director considerable experience in the horror/science fiction genre, has a great sense of what it takes to make comic book characters come to life on the screen. He manages to retain the strong visual impact of the original Marvel Comics series. David Goyer's script manages to capture the essence of comic book dialogue sparse, but not stilted. The overall effect is a film that builds smoothly from start to ending, with very few slow moments.

The extras on the DVD are surprisingly good. Good sized features on the concepts and effects that went into the film, the story of the Blade comic, and an interesting survey of the vampire in human imagination. In addition, there is an extensive running commentary for the film. All of these are intelligently done. I think 'Blade,' despite its violence, will appeal a wide range of viewers as something more than just another Hong Kong fight film wannabe.

I'm giving this Two Stars not because of the film itself but for the following three complaints I have with this disc (I'm a huge fan of the movies, I have all three and have watched them dozens of times):

1. Price: $25.49 is awfully expensive for a movie that's been out for 11 years. Especially considering that much newer movies (e.g. "Watchmen: The Director's Cut", loaded with extras, btw) are going for lower. The aforementioned "Watchmen" is nearly $10 cheaper.

Surely a $35 or $40 boxed set of all three Blade films could have been issued.

2. Quality of Transfer

The transfer is hardly stunning and hardly worth the aforementioned price. Both my Blu-Ray player (a 120GB PS3, the very latest version of Sony's flagship console) and my HD-DVD player (a Toshiba A-30) upscale/up-res standard DVDs and I cannot tell the difference between THIS Blu-Ray transfer and the upscaled SD-DVD. Thus I'm feeling more than a little taken advantage of. Unfortunately, Amazon's policy limits me to a 50% refund, if they give me one at all. This film is still part of the best Vampire franchise out there (so far), in my opinion, but stick to the standard DVD versions. Not only do you get the extras, but since there's no discernible difference in picture quality, you'll also save yourself a good bit of cash.

3. No extras

Unfortunately, I missed the notice, which is just a single line of print, that no extras were included which scotches my reason for returning the disc. Surely this notification should have been bolded or rendered in a different color, something that would catch the eye better.

Although, in general, I am not a big fan of extras (with certain exceptions, they are rarely worth watching), I think a Blu-Ray release should at least contain everything on the original DVD release. After all, there's more than enough room on a BR disc to accommodate everything on a Standard DVD release since all BR videos are 50GB discs. And "Blade" will fit on a 4.7GB DVD (i.e. a single layer disc) WITHOUT the extras. Therefore, there's no reason NOT to include the extras given the huge amount of space the BR gives the studio for extra content.

Thus, if Blade requires 4.7GB of space for its 2 hours in Standard Definition, multiplying it by 6 (since we are constantly reminded that "Blu-Ray has SIX TIMES--!!!--the definition of DVD!"), that still leaves 26GB for extras, more than enough if these are left in standard def (as the majority of extras are).

Finally, as for the difference in aspect ratios: this is not an issue for me. Both Blu-Ray and HD-DVD normally use a 2.40:1 ratio (resulting in slightly smaller black bars bordering the film) and, strictly, speaking, I suppose, the original aspect ratio should have been preserved. However, the increase (?) in aspect ratio does NOT result in a distorted picture so I don't feel this is a drawback.

Buy Blade Now

This was a great action/horror film, packed with some excellent special effects, an entertaining storyline, and at least a couple of reasonably talented actors (Snipes, Dorff). Kristofferson is terrible as always (a hint to you casting people... Sam Elliott would have been MUCH better as the tough and gritty Whistler).

But you're not really reading this review to hear about the movie -you can get that kind of info anywhere. What you want to know is "Is the DVD worth buying instead of a VHS tape?" Weeeellll...

This movie is undoubtedly THE showcase movie for DVD (the Mummy is another very good choice). The picture quality is fantastic, and the sound is incredible (you gotta listen to it in Dolby Digital 5.1 on a nice home theater system to fully appreciate the sound). But what really sets this format apart from anything else are the SPECIAL FEATURES. A ton of things like information about the different Vampire houses, commentary from the director on the making of the film, and an alternative ending, really show how the DVD format can add to your viewing experience. Many DVDs (too many, in fact) are simply direct transfers from another format to DVD. No extras, limited enhancements on picture and sound... A perfect example of a BAD DVD is Highlander!

The DVD versions of the Bond movies have also shown the industry a thing or two about how to make a truly interesting and worthwhile DVD movie. DVDs like Blade make me happy I purchased a DVD player!

Read Best Reviews of Blade Here

Lets face it. There have been only a handful of great films that were based on Comic Books: Superman, Batman, The X-Men, ect. With all the rest being dismal failures, usually because all involved didn't take their source material seriously enough and went in a completely different direction. Not bothering to really understand why people truly love these characters in the first place. These kinds of people should never be allowed to direct films derived from comic books.

It was the summer of 1998. The hollywood machine was throwing out dozens of entertainment fodder for the masses to engulf. I saw 14 film in the movie theaters that year. Blade was the only one of them I saw twice. Talk about a movie experience! From the opening shots, you are literally sucked in (no pun intended) to the world of the vampires. Wesley Snipes completely embraces the role of the title character and plays him to the hilt, with just a bit of dry cocky humor that is very refreshing.

As we first meet Blade at a Vampire techno club (which uses a great remix of a song called "Confusion" by New Order) we just know he's a force to be reckoned with as he slices, dices, burns & just plains blows up every vampire he gets a hold of (including Traci Lords, in a very memorable cameo). Kris Kristofferson plays Whistler, Blade's mentor and creator of the various weapons at his disposal, including guns & knives, bombs, & more. ("We have a good arrangement. He makes the weapons, I use 'em"). But it's Stephen Dorff as the bloodthirsty Deacon Frost that helps catapult the film from average action fair to the stuff of comic book legend. With most actors, this would be a one or two dimensional performance, but in the hands of Stephen Dorff, he turns the character of Deacon Frost into something much more multilayared. The interaction he has with Blade as well as his other fellow vampires give off this feel of someone we should not underestimate. Because a truly great villain is a huge key to a movie's success.

The whole mythos of vampires in this film moves the genre in a very interesting direction. According to Blade, pure silver, garlic & sunlight are the main tools to combat vampires. ("Crosses don't do d***, so forget about what you've seen in the movies") But the fact that the pure blood vampires are personified as old & disposable, while the nonpure vampires are young and virile, looking to take over and run things, can really be looked at as a depiction of our society, with the old guard being kicked out by the new one, lest anarchy ensue.

But "Blade" is without a doubt one of the best comic book adaptions to hit the big screen in a long time. It is truly up there with Superman & Batman as the best of the best. And New Line Cinema gives you more to praise about with the wonderful DVD Platinum Edition, that includes a nice audio commentary with Wesley Snipes, Stephen Dorff and others from the production and writing team. The only disappointing thing is that everyone is recorded seperately instead of all together in one big room which is more fun to listen to. Four Featurettes are also included: "La Magra" which discusses the films evolution as well as showing some deleted scenes from the film (Deacon Frost's idea of freezing humans and harvesting them for their blood, plus the original ending of Frost turning into a digital effects blood monster. You'll be so glad it was deleted once you see it.) "Designing Blade" a look at the production designs including interior, exteriors, Blade's arsenal and more! "The Origins of Blade" An indepth discussion with Marvel Comics alum, Stan Lee & others on the genesis of comic books going from kid friendly to more for adults. "The Blood Tide" A very interesting look at Vampire mythology in general beginning from the early 1900's. Plus you get the definitions to most of the glyphs shown in the film, cast & crew bios and film credits, as well as the wonderful original theatrical trailer that still packs a punch all it's own!

Blade A True Comic Book Classic!

"Some [people] are always tryin' to iceskate uphill" Wesley Snipes as Blade

Also, don't miss the incredible sequel, Blade II!

Want Blade Discount?

the original ratio is 1:2,35 = cinemascope also on DVD, But here on Blu-ray is the ratio fu..ing 1:1,78 = 16:9 TV-widescreen) my question is WHY !!!!! don't buy is blu-ray !!!!!

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The Gauntlet (2008)

This review refers to the Warner Bros. DVD edition of "The Gauntlet"....

From the moment Ben Shockley(Clint Eastwood)steps out of his car and an empty booze bottle falls out, we know this is not the usual "Dirty Harry" character we'd been used to up to now. Ben is a cop who's chances for greatness seem to be fading with him.

Eastwood directs as well as stars in this film and we see his brillant directoral style taking hold here.

The Phoenix P.D. seem to be scraping the bottom of the barrel when they assign Shockley the job of escorting Gus Malley, a seemingly unimportant witness from Las Vegas back to Phoenix for a trial. Ben's been looking for his big break on a big case and it doesn't look like this will be it with this guy. Upon arriving in Las Vegas, Ben discovers that Gus is no guy. Gus Malley(Sondra Locke), is a local prostitute and unwilling partcipant in the journey back as well. This is not "a hooker with a heart story" though, this pro is as hard edged as they come, but she does have a brain!

The action starts as soon as they leave the jail. Someone is going to make sure that these two never make it to trial. Vegas is even giving odds against them. Everyone's after them..the mob, the cops, they even made the mistake of angering a group of bikers along the route and they're out for revenge as well. They hardly know who to trust, as they get shot at from all angles, cars blow up, they are set up and beat up. What Gus knows can cost them their lives, but Shockley is now determined to bring his prisoner in at all costs and rises to the occassion and must break through an impassable barrier set-up to keep him at bay.

It's edge of your seat drama, thrills, and fun, as Gus and Ben trade quips and get in a little romance(we couldn't expect any different with Eastwood and Locke)along the way.As usual Clint surrounds himself with the finest talent. Pat Hingle, William Prince, and Bill Mckinney turn in excellent performances as well as Eastwood and Locke. There's also a terrific jazzy score by Jerry Fielding.

The film made in 1977 looks great on this DVD transfer. It is in a widescreen on a dual layer format. The picture looks good. Clear and sharp with good color. There was occasionally a little purplish tint in places, but it didn't take away from the enjoyment of the film. The soundtrack remastered in the 5.1 Dolby Stereo was also good. The music sounded great and the dialouge always crisp. Not too much in the way of bonus material if that's what you're looking for, there's a filmography on Eastwood(his was the only one I was able to access) and a theatrical trailer. It may be viewed in French(Mono) and also has subtitles in English and French as well. You can bet on this one!

5 stars to a great Eastwood action film that can be watched again and again.

Get the Popcorn ready for this one and enjoy.....Laurie

also sold(when available) in 2 pack:The Gauntlet/True Crime

also recommended:

City Hall/Midnight in the Garden of Good and Evil

The Clint Eastwood Collection (In the Line of Fire/Unforgiven/Bronco Billy/Dirty Harry/The Outlaw Josey Wales/The Beguiled)

(see my reviews for film details)

I read years ago that "The Gauntlet" was originally intended to feature the star matchup of Clint Eastwood and Barbra Streisand, but after Eastwood was warned by the Warner Bros. brass of La Streisand's diva tantrums on the set of "A Star is Born" he nixed the idea and cast his "Josey Wales" costar Sondra Locke instead. Admittedly, a Eastwood-Streisand matchup would have made this film a major blockbuster instead of the solid hit it was, but I'm glad it never happened. The pair would probably have had no chemistry whatsoever and Streisand would have been unbearably shrill in the role of "two bit hooker" Gus Malley. Besides, Locke is excellent in the role and proves a terrific sparring partner for Eastwood. Yes, her subsequent pairings with the legend were less than satisfactory, but for one bright shining moment, Locke's talent would shine brightly.

"The Gauntlet" actually works strictly because of the Eastwood/Locke chemistry and not because of the unbelievable plot. Eastwood plays Ben Shockley, a self-described "dumbass cop" and alcoholic who is sent by Phoenix's shady new police commissioner Blakelock (William Prince) to Las Vegas to extradite Malley, who is the only witness to a mob trial. It becomes obvious from the start that Shockley has been set up and by whom, and the two don't even make it to the airport before they are being chased across the desert by mob assassins. You'll figure out who's behind everything long before Shockley, but for once, his ineptitude makes sense, since he was sent to do the job because of it. The plot turns when Shockley figures it out and decides to prove the brass wrong by delivering Malley to the steps of Phoenix city hall, providing he can get through the impenetrable barrier (or "gauntlet") of policemen sent to stop him.

Like I said, the plot is unbelievable. Shockley and Malley dodge so many bullets and escape so many sure death circumstances a total suspension of belief is required to fully enjoy the nonsense. And the final five minutes is stupid beyond belief, since we are asked to believe the entire Phoenix police force would stand by and watch three people being shot and do absolutely nothing. However, the film is fast-paced and the action scenes are expertly mounted and the film never drags for a single moment in 109 minutes. Eastwood directs with economy and style and with tongue firmly placed in cheek, and for once, the lightning pacing many have yearned for in his recent, more leisurely paced films. And the performances are universally excellent, especially by Locke, Pat Hingle as Shockley's concerned partner-turned-patsy, Michael Cavanaugh as a seemingly sympathetic assistant district attorney, and '70's Eastwood regular Bill McKinney, who is absolutely hilarious as a smarmy constable taken hostage by the desperate pair. In fact, anyone who thinks Locke can't act should watch the expert interplay between her and McKinney when he decides to have fun insulting her and she turns the tables on him, twisting the screws until he explodes. This scene alone is worth the price of of the DVD, and it should serve as a rebuttal to Locke detractors everywhere. I also liked the subtle way Eastwood and Locke's relationship turns from adversarial to actual love and affection. Nowhere in the script is there a specific moment where they fall in love, they just do, and they make the transition believable strictly through their interplay.

The film makes great use of Nevada/Arizona locations and has a terrific jazz score by Jerry Fielding, who heavily borrows from gospel standards like "A Closer Walk (my Lord to Thee)." In fact, the film is littered with religious symbolism, but why is a mystery. In all, the entire production is a solid, professional piece of work by the entire Eastwood team at Malpaso. And while it will never be considered in the same class as such top-drawer Eastwood directorial efforts as "Outlaw Josey Wales," "Unforgiven," and "Mystic River," it remains to this day a solid entertainment that seems to improve with each viewing, just as long as you shut your brain off completely at the end.

As for the DVD, WHV has done better. However, at least it's in panavision widescreen instead of the pan-and-scan that the VHS copies contain. And could we have a little more than the standard theatrical trailers for extras? All in all, it rates ***1/2 (out of *****)

for the film and **1/2 for the DVD presentation.

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Though it gets lost in the "Dirty Harry" shuffle, "The Gauntlet" (1977) is an underrated action drama with more emphasis on characterization than bullets. In a change-of-pace role, Clint Eastwood plays a down-and-out Phoenix cop who faces seemingly impossible odds and endless corruption when he is assigned to escort a Las Vegas prostitute (Sondra Locke) to trial. Needless to say, Clint's slimy boss (William Prince) wants to make sure he doesn't get the job done. Stylishly directed by Eastwood, the film moves at a fast clip and benefits from strong performances. Interestingly, Eastwood's character fires his gun only twice and never kills anyone. The elaborate climax is a bit ludicrous (why don't the Phoenix officers shoot out the bus tires?), yet "The Gauntlet" remains on-target most of the way. A must-see for Eastwood fans.

Read Best Reviews of The Gauntlet (2008) Here

One of Eastwood's best films,and one of Sondra Locke'e for that matter,this Blu transfer blows away the previous DVD release which really wasnt all that bad,but this Blu Ray transfer and sound are just incredible,it blows the old DVD right out of the water!!!,your HD TV,and sound system will get quite a workout here!!! No extras here,just the movie,not even a trailer,but for the pretty low price,this one's worth picking up if you're a fan,worth the upgrade!!! The final scenes with the bus(Clint also had some bus action also in Dirty Harry,remember these films were made well before "Speed"!) are truly incredible,this movie is action packed!!! "The Gauntlet" is a winner!!! I've had this on VHS,DVD and now Blu Ray!!! A+

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The movie itself is as good as any of the Dirty Harry series. The picture quality for a Blu-Ray is pretty good. It's probably the best I have ever seen it. I didn't notice much by the way of dirt or smudges, & grain is about par for a film of this age. If you are looking to buy this or the regular DVD, then I would say this Blu-Ray is a better choice.

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Star Trek: The Next Generation Motion Picture Collection (First Contact / Generations / Insurrecti

I just received my TNG Blu-Ray set from Amazon. After the TOS set, which had a decidedly mixed quality, I was ready to give this set some tough scrutiny. Happily, I can report that A/V quality is superior to the previous set, and the extras and packaging share the same quality with that set.

The films:

Generations I find this movie to be underrated. The intro sequence aboard the Enterprise B is just a terrific bit of continuity expanding coolness. The emotional weight of the movie is great, and although it falls into the "big villain" syndrome, the big villain is 1. played by Malcolm McDowell, 2. is realistic in his motivations and his abilities. The only failings in my book are some torpid pacing in the "Nexus" scenes, and some painful Data scenes. Still, this is a movie that I appreciate more each time I watch it.

First Contact this is everyone's pick for "2nd best of all time" (after "Khan" of course). I'm not going to disagree. It's got a whiz bang action story, the Borg, time travel, good continuity, and great effects. I do think the story sullies the Borg somewhat by introducing the "Queen." But, then again, she is played very well by Alice Krige. As far as time travel, while this wasn't the straw that broke the camel's back, it did probably contribute to the trend of too much time travel in Trek.

Insurrection More like an extended episode than a movie, this film has the germ of a good sci-fi story: how much of its scruples will the Federation trade for a technology that could render humanity immortal? Unfortunately, this movie more than most falls prey to the "big villain" syndrome, with an extremely irritating antagonist, the Sona. There is some good fan service, however, with Troi and Riker finally getting together for good. I'd rate this along with some of the so-so two parters in TNG's TV run.

Nemesis Ah, Nemesis. The film that "killed the franchise." The one which necessitated a "Reboot." The one which pooped on several characters and even a few races. This movie is riddled with problems from concept through to execution. It ret-cons the Romulans and adds the "Remans." It brings back Wesley as a Starfleet lieutenant, even though he dropped out of the academy to cross dimensions with the Traveler. It introduces Data's mentally challenged brother "B-4," even though his existence is specifically contradicted by several TNG episodes. It shamelessly rips off a TNG episode in which Troi is mentally assaulted. It posits an outlandish clone plot with Captain Picard, as if the Romulans could both obtain his DNA several decades ago as well as anticipate its usefulness in the future. It kills a main character for no apparent reason. About the only thing worthwhile in this film is the wedding of Troi and Riker. The more I see this film, the angrier I get at the complete lack of care that went into its making.

The Blu-Rays:

Unlike the TOS set, the video quality of these 4 films is in general extremely good, and at times spectacular. Though there is a tiny bit of edge enhancement visible at times (Especially on the sailboat in Generations), Digital Noise Reduction is not obtrusive at any point. Detail is extremely strong for the most part, and colors are absolutely vibrant. Black levels are deep and strong, but detail in shadows is still evident. You will want to be sure to check the calibration of your brightness, contrast, and gamma, to get the most from these films (for those without a disc like AVE, try the THX calibrator on "Star Wars" DVDs for some good brightness/contrast patterns).

I would say First Contact is the best transfer of the bunch, but truthfully, all of the final three films are competitive with the upper tier of Blu-Rays on the market today. Only Generations shows its age a bit, but it still looks very good better than all but ST2 in the TOS set. Insurrection and Nemesis betray a bit of color banding in clouds and space scenes, but it is not oppressive. Some standout scenes from all the films in terms of visual quality: Data and Geordi discussing the emotion chip (Generations). The opening pull-back in First Contact. The establishing shot of the Baku homeworld in Insurrection (known as a torture test for 3:2 pulldown on DVD).

Audio is presented in a set of aggressive 5.1 channel Dolby TrueHD mixes. All of them work well, with lots of surround action, deep bass, and clear dialogue.

Packaging is identical to the previous set, with a slipcase and 5 slim BD cases. Art and inserts are all tasteful and good-looking.

Extras include a plethora of commentaries. The most interesting of these are Ron D. Moore and Brannon Braga on Generations and First Contact, and Jonathan (Riker) Frakes and Marina (Troi) Sirtis on Insurrection. Most of the films have multiple commentaries, some have three! The same amount of detail goes into the extras on each film as did the previous set, with most discs recapitulating all of the DVD extras and adding some new ones (such as the execrable "Starfleet Briefings" from the TOS set). Like the previous set, trailers include the 2009 Trek film and a promo for all the recent Trek Blu-Rays. Thankfully, these are skippable.

As far as deleted scenes go, it seems that the DVD extras have been replicated for Blu-Ray. The most interesting are for Nemesis, the deleted scenes being excised "character bits" including "Wesley's New Mission" and "Crusher At Starfleet Medical" that would have made this film feel a lot less generic. Why Paramount has not authorized an extended edition with this material edited into the film is beyond me. It would certainly take some of the bad taste out of true Trekkies' mouths that their favorite characters got short shrift. Unfortunately, all are presented in non-anamorphic 480p, so they look terrible, for the most part.

The main extra is the bonus Blu-Ray, with 77 minutes of new HD documentary footage split into 7 programs. These include investigations into the evolution of the Enterprise, a spotlight on villains, a piece on the movies' influence on fans and Trek creators, an interactive map of the Trek Galaxy, and three (?!) pieces on the Star Trek Experience from Las Vegas. The Enterprise and Villains segments are the best (though still not very good), and I wish they had been expanded and improved. The other pieces are a bit more frivolous. All told, it's definitely not as impressive as the interview disc from the TOS set, but it still should entertain fans at least marginally.

Summary:

For this price, a Trek fan really can't go wrong with this set. You're getting 4 feature films (two great movies, one good one, and one stinker) with loads of special features and a full disc of (so-so) HD extras. The A/V quality is almost uniformly spectacular, especially in comparison with the TOS set. As far as I'm concerned, this is a must buy for a Trekkie/Trekker with an HD setup. Worth every penny.

**Individual Movies**

This review is for people familiar with the TNG movies in the first place and so I will not touch on them individually, but moreso on the package as a whole. As for the individual movies, in short: "Generations" was cool as it was the first TNG movie and had Picard and Kirk on-screen together, but was overall just OK, "First Contact" is the best Star Trek movie of all time, "Insurrection" is like a long, dull episode, "Nemesis" is OK for action, although lacking overall.

**The Total Package**

The Good:

All 4 Star Trek: The Next Generation movies in one, very nicely priced, collection. "Generations" and "First Contact" both look excellent, with amazing quality, nearly none noticeable film grain, vibrant colors, sound, etc. All 4 movies are just as good as ever, but the higher quality sound/video truly adds to the experience. Most of the extras are nicely done, and include everything from sfx and sound featurettes to top-down maps of the Alpha Quadrant, and although I haven't gone through any of the commentaries, I hear they're all a lot of fun.

The Bad:

"Insurrection" and "Nemesis" don't seem to have received the same treatment as the first two in terms of re-mastering for blu-ray. There is noticeable film grain in nearly all darker scenes (and even moreso in "Nemesis" during the desert scene) -not terrible, but noticeable. It's still higher quality than the DVD's, of course, but you can tell they spent more time re-mastering the first two. Some of the extras are lacking. While there are some really nice ones, for a lot of the deleted scenes and featurretes they've used the exact same featurettes from some of the other Star Trek movies/compilation box sets. This might be nice for people who don't have any of that already, but since it's all still DVD quality or lower (including the deleted scenes), it leaves a bit to be desired.

Bottom Line:

If you like Star Trek TNG and/or are a nerd in general, you'll like this package. It's a ton of fun watching the first scenes of "First Contact" with great picture and sound quality ("We are the Borg..." hell yes!) and Generations has become more enjoyable with the higher quality as well. There are some stunt scenes at the end where you can't help but laugh, knowing when they originally shot the scenes they didn't expect anyone to be watching a higher quality version in the future where you can clearly see stuntmen rather than Shatner, so awesome. Anyways, I hightly recommend it if you're a fan and despite some of the shortcuts, it's a great price for what you get. Heck, I paid more for the DVD's three years ago with an employee discount.

Buy Star Trek: The Next Generation Motion Picture Collection (First Contact / Generations / Insurrecti Now

The final bloc of old school Trek films hits Blu-Ray with surprisingly few differences from the standard DVDs. There are no "directors cuts" or variations to make this set a must buy. At the same time, there's little here to make one annoyed at the possibility of a later, better release. Unless Paramount decided to include finished deleted scenes via branching next time around, this is pretty much it. Unless you are bugged by the DNR. Some people are. I'm not since these are the nicest I've seen the films since their first run. However, since they are all recent films, there's little to get excited about in that area. Sounds quality is excellent, I didn't notice anything negative there either.

One really nice thing: they FINALLY provided the trailers to Generations. For some reason, Paramount pulled them at the last minute from the SE DVDs, siting music rights issues (does this make any sense?). Also, the final Nemesis trailer is included on that disc, rather than just the teaser trailer.

Speaking of trailers, the final Star Trek (2009) trailer is on every disc. It is the best of the three trailers, but did we need it on EVERY disc? You can skip right to the menu if you like, and it IS a very nice piece of film. But there you go.

Insurrection was of interest to me as I was excited to finally have a director's commentary by Jonathan Frakes. The SD DVD was lacking one, and since I really enjoyed the First Contact commentary by Frakes, which was informative as well as hysterical, the lack of one on the DVD was a bummer. Becareful what you wish for. Frakes is here, this time partnered with Marina Sirtis. Sadly, it is utterly worthless. She remembers NOTHING about the film and continually asks inane questions about the plot, like a kid seeing it for the first time. Frakes is no better, dropping comments which tell us nothing about the making of the film. Some of it is amusing, particularly when he rags on Sirtis for not remembering a single plot point about the film, but there's a lot of dead air waiting for them to watch more movie before speaking. It's less than two hours; couldn't they watch it once before doing the commentary to refresh the old memory? It's not like Sirtis has a full acting schedule these days. The rest of the time Frakes reads cast and crew credits ("Marty Hornstein...nice guy. Bill Teddmann rest his soul.") or makes jokes about how great his work is (he's a really funny guy, but this was not worth having on the disc).

However, there are one or two moments of refreshing honesty, particularly when Frakes comments on the "British Tar" bit ("this is a long way to go for a gag") and how the ending bugs him, when Data and Artim are in the haystacks ("this is too cute by half"). Otherwise, mostly pointless. There isn't even an alternate commentary like with the other films.

There is relatively little of interest in the new for Blu-Ray features. I found the round table discussions between fans (Larry Nemecek, Jeff Bond, etc.) to be less interesting than I expected. The closing of the Star Trek Experience was both touching and wacko. Do NOT show that to anyone who thinks Trekkies need to get a life and you are trying to convince otherwise. I mean, I hated to see it close too, but I got over it once I left the airport...

Much as I enjoy every Trek film, I didn't get the same excitement with this set as I did the originals. Probably because I wasn't getting versions unavailable since the theatrical run and also because nothing overy exciting was added to the mix. I would love to have seen all of the deleted scenes for Generations and Nemesis finished, rather than work prints (especially since they WERE finished in many cases). The Generations deleted scenes aren't even in anamorphic w/s.

Anyway, I didn't mind the triple dip. I paid only $50 at Best Buy for the 4 movies on BD, which comes to a mere $12.50 per film (less if you count the bonus disc, but I consider it a freebie since I'd never buy it separately). The clarity and sound are much better than standard DVD and since they are pretty recent films, the change isn't that crazy.

Honestly, if you DON'T have a Blu-Ray player, don't worry about it over this set. Aside from the trailers for Generations and Nemesis, you're not missing much. And you can see the trailers on YouTube anytime you like. :-) And if you don't want all of the films, some of them are being released separately. They'll all come out individually, I'm sure. The box set comes with slim cases with sleeves much like the TOS films. The individual BDs are the standard cases with nicer covers. I really an not fond of that, but there you have it.

Read Best Reviews of Star Trek: The Next Generation Motion Picture Collection (First Contact / Generations / Insurrecti Here

Got this on the cheap on Amazon. Movies look great, looks like most (if not all) of the content from the DVD releases in included. There are a couple of minor new extras, the best being some new interviews with Brent Spiner, but nothing to really get too excited about. The outer package is good with a holographic Enterprise in a nice box, but I HATE the individual blu-ray case designs. Like the original crew film blu-ray collection, instead of the original poster art you get an extreme close-up of one of the crew members. Didn't like it on the original crew film cases, don't like it here!

The films themselves are a mixed bag. Generations is very mediocre, with your standard mad scientist villian and a downright silly plot device to shoehorn Kirk into the film. Plus the way the legendary Captain Kirk is killed is just insultingly bad (a dummy strapped to a bridge, really?!) First Contact is much better, with the great Borg as the villians. There's a bit of retcon going on with the Borg Queen, but it doesn't hurt the film. Great movie. Then you get to Insurrection... Wow, what a crappy movie. Nothing in this film works. Nothing. Plus didn't we already see this movie in the TNG episode "Who Watches The Watchers"?? Plus I kind of agree with the Admiral, isn't moving 400 non-indigenous people worth saving millions? I mean, didn't those people move there to exploit the planet too?? Bad story, bad villian, bad humor. Bad bad bad. Finally we get Nemesis. Frankly the crew just looks tired here. A decent villian (and future Bane) in Tom Hardy, but the cloning story is hackneyed. The introduction of B4 is just totally unnecessary and actually takes away from the emotional impact of the beginning. However, the final space battle is truly impressive. The Enterprise actually uses battle tactics! Lots of fun.

If you don't have the films this is a good purchase. If you are thinking of upgrading then I'm on the fence. Get it on sale.

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This collection pack is great for any enthusiast who is obsessed with Star Trek: The Next Generation and wants a Hi-Def remastered set. However, when you deal with remastered editions, you sometimes run into movies who have had their works of art remastered by lazy companies that cut corners. As some of the other reviews have mentioned, the corners and shadows do have some flaws. The largest flaws I mainly saw, which literally annoyed me, was the remastered work on the CGI shots. Some of the CGI shots, compared to the non-remastered editions, seem like they were drawn by a Japanese cartoon artist for the local newspaper. Other than that, the general shots of the characters and the motions between the characters is great. If you are not too concerned with the issue of the CGI, I encourage you to purchase this item.

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The Robber (2011)

There's a new "running" film available on DVD/Blu-ray. It's "The Robber" (aka Der Räuber), which is the Benjamin Heisenberg-directed film based on the true story of Austrian bank robber/marathoner, Johann Kastenberger. The screenplay was adapted from Martin Prinz's 2006 book, "On the Run." The film made the film festival rounds in the spring, but the DVD/Blu-ray release will be most's first exposure to the film. It's also available on Netflix Instant. The film is in German, but is sub-titled in English and is very easy to follow, as the dialogue is very deliberate.

So who was Johann Kastenberger? According to the film, and to Wikipedia, Kastenberger was a convicted bank robber, who was first arrested in 1977 for robbing an Austrian bank. He served a 7-year prison term and trained extensively while in person. Upon release, he made an instant splash in the marathon, setting an Austrian national record (the film shows 2:20, but I can't corroborate that anywhere online and haven't read Prinz's book yet). The film does show him winning the ultra difficult Kainach Mountain Marathon in a still standing record of 3:16. Not long after being released from prison the first time around, Kastenberger reverts to his bank-robbing ways and becomes known as "Shotgun Ronnie," due to his penchant for wearing a Ronald Reagan mask during his robberies. This is something that is left out of the film.

Andreas Lust does a very passable job in portraying a competitive runner. He's fit, has good form and most importantly, looks the part. There are some excellent action scenes in "The Robber," particularly one after a robbery nearly goes awry and he runs through multiple buildings being followed by a single camera, and ends up hopping on a trail to evade the police. It's a very entertaining film and is well worth 90 minutes of your time.

The Robber is loosely based on a true story of a champion marathon runner who also robbed banks in his spare time. The cinematography in this movie is fantastic the running and chasing scenes where the camera follows is as good or better than any hollywood production, overall this is well worth having a view on a quiet evening...

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Hmm, I wanted to like this film a lot more than I did by the time the credits rolled. The story of a talented marathon runner who is also a cold blooded, unfeeling bank robber/killer. As a runner with nowhere near the talent of the 'anti hero' of the film played by Andreas Lust, the scenes of him running throughout look better than any I can ever recall in a movie. As the film opens Andreas gets out of prison for bank robbery and immediately returns to the only two things he lives for--running and crime. Its unclear why he does either activity as neither one seems to bring him pleasure or meaning in his life any more than the beautiful girlfriend he resumes living with upon release. In fact the 'why' of what is driving Andreas in his life is never explored or revealed in this film. He's gifted athletically; his Parole Agent & others bend over backwards to help him; and yet he seems to be a complete, unfeeling, 'zombie' hurtling towards self destruction. 'The Robber' seems to be driven by the theme of nihilism to its quiet, near wordless conclusion. Be aware this is not a 'satisfactory ending', 'it all makes sense now'film, but it is compelling & well done.

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This movie has it's moments, but is a missed opportunity. I have never watched a film with such an interesting subject matter be so boring most of the tiime. There is virtually no character development. The chase scenes are extremely well done and that is what saves this movie from being a total disappointment. I had read many positive reviews and was expecting more. I am an American that really enjoys foreign films. I hope someone else tells this story again that is capable of really good story telling. It's clear that the film crew is very talented to do some of the things they do, but someone really needs to re-tell this story and do it justice. Definitely rent before buying. The PQ & AQ are top notch.

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Must see... Not your typical Hollywood smash & grab shoot em up style action flick. Great performances by both the main Character and supporting. Great ending.

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Insignificance (The Criterion Collection) (1985)

Those who say that "The Man Who Fell To Earth" (1976) was Nicolas Roeg's last great movie either have not seen "Insignificance"(1985) or have vastly underestimated it. All the trademarks of a Roeg film are here; surrealism, spectacular visuals and a uniquely intelligent story.The idea that Marilyn Monroe and Albert Einstien had an intimate relationship is explored here with great gusto. Misconceptions about Monroe's intelligence and Einstien's intellectual elitism are shattered here although her baseball player husband(DiMaggio)is what the viewer would expect.The climax is both unpredictable and mind blowing. All in all, Russell and veteran cast are great and Roeg's craftsmanship is uniformly excellent.

In this quirky highly original film director Nicolas Roeg posits the theoretical question, what would happen if Albert Einstein, Marilyn Monroe, Joe DiMaggio and Senator Joe McCarthy were all gathered together in the same hotel room for one evening in 1953?

An eclectic gathering indeed. If it helps you to conceptualize where this film is headed, think of this as an evening of psychotherapy for the rich and famous. Marilyn wants to be loved for her brain, yet continually relies on her sex appeal for attention. Her husband and sports legend Joe DiMaggio wants to express his deep feelings of love for his wife but can't seem to express himself without a pack of baseball cards in his hand. Meanwhile Senator Joe McCarthy is busy scowling and perfusely sweating as he continues a campaign of threats and intimidation against everyone in the room.

Einstein's quiet evening alone has definitely taken an unexpected turn. Between the emotional angst displayed by the vulnerable sex kitten, the inept attempt at reconcillation by her superstar husband and the politics of fear levied by the Senator, the usually aloof, unattached scientist finds himself in an environment beyond his control, even for one of his mental capabilities. It turns out to be an evening of personal discovery for all involved.

'Insignificance' is really a mixed bag, one of those films you either get it or you don't. Not by any means a great movie, but it has its moments, the best moment being Marilyn's attempt to impress Dr. Einstein by explaining his theory of relativity using toy trains and flashlights as props. Very cute, thank you Theresa Russell!

This may not be a film that would stand up well to alot of repeat viewings but worth a viewing nonetheless. Starring; Michael Emil as Albert Einstein, Theresa Russell as Marilyn Monroe, Gary Busey as Joe DiMaggio and Tony Curtis as Joe McCarthy.

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CONTAINS A FEW SPOILERS. While "Two Deaths" (1995) showed a few flashes of the directorial brilliance that seemed to come so easily to Nicholas Roeg between the early seventies and the mid-eighties, I would argue that "Insignificance" was his last great film. Roeg was not a writer, but he managed to put his unique stamp on nearly every film he directed between his mesmerizing solo directing debut, "Walkabout" (he was co-director on "Performance" prior to that), and this allegorical gem, "Insignificance." This film followed by two years Roeg's underrated "Eureka," a film which baffled the suits at MGM/UA, and was not released until a couple years after it was completed. "Insignificance," with a script adapted by Terry Johnson from his stage play, was a more low budget film than "Eureka," and, to paraphrase another interesting director, Whit Stillman, when a lot of dollars are involved your movie is more likely to get sabotaged by "jerks." I can't decide myself if Theresa Russell's portrayal of "the actress" in this film is the high water mark of her career, or if that came in 1981 in "Bad Timing: a Sensual Obsession," her first collaboration with Roeg, whose wife she had become by the time "Insignificance" was shot. I had the pleasure of interviewing Ms. Russell in 1981, during her promotional tour for "Bad Timing," and she told me at the time she considered her work opposite Dustin Hoffman in "Straight Time" the acting she was most proud of to that point in her career. But to "Insignificance" itself, this is a movie I find fascinating, but which I'm sure some would find utterly pretentious. What saves it from that charge is the humor that runs through this film, despite the seriousness of the subject matter: the unleashing of atomic weapons, communist witch-hunts, and, while it may see of lesser importance, the nature and burdens of celebrity and having to live up to some manufactured image of oneself. The rest of the cast is uniformly excellent. It is appropriate that Tony Curtis, at least lately a decidedly right wing, anti-gay activist who campaigned against "Brokeback Mountain getting Best Picture, is cast as "the senator," who is obviously meant to be Joe McCarthy. Curtis, a fine actor, brings some of the smarmy charm of his character from "Sweet Smell of Success" to this film as well, albeit a charm filtered through an alcoholic haze. Gary Busey is perfect as the famous former baseball player, who realizes his glory days are gone, and that he will forever live in the shadow of his wife's greater fame. And Michael Emil, so good in a number of his brother, Henry Jaglom's quirky low budget films ("Sitting Ducks," "Always") is fine as "the professor," who has come urge the US government to not use his great discovery for additional destructive purposes, but to use it to promote peace--a position for which the senator has no sympathy. The scene in which Russel, as the actress, demonstrates her understanding of the professor's theory of relativity using a toy train set is not to be missed. Roeg never made a film this interesting again. After a few attempts at films of substance, such as the failed "Track 29," derailed by a weak script, Roeg signed on to direct more mainstream fare. Some like "The Witches" were at least competent and entertaining films. Others, like the TV mini series "Samson and Delilah," seem beneath him. In the end, Roeg was the victim of the passing of the time of the powerful director in commercial film making. Some of the strong (and/or commercially successful) still survive, but many, like Roeg, have had to abandon the adventurous path of their earlier films in order to maintain a viable, or semi-viable career.

Read Best Reviews of Insignificance (The Criterion Collection) (1985) Here

I've never been a fan of director Nicolas Roeg.

I prefer straightforward storytelling in my movies and his work is just too cryptic and experimental for my taste.

Nevertheless, even aside from Roeg's kaleidoscopic images, I'm not quite sure I get the complete message that screenwriter Terry Johnson is trying to put across in INSIGNIFICANCE, an adaptation of his stage play that deals with a fictional meeting between 1950s icons Marilyn Monroe (Theresa Russell), Albert Einstein (Michael Emil), Joe DiMaggio (Gary Busey) and Senator Joseph McCarthy (Tony Curtis), none of whom are specifically identified in the film.

Perhaps the movie is about the burden of "celebrity," or the fact that "knowledge is not necessarily truth," or maybe it's about those ideas and a few others. Certainly there are many different thoughts tossed about in the picture's 108 minute running time.

Einstein, played by Emil with a childlike innocence, and Monroe are the central figures in the piece, and the scene in which she uses flashlights and various toys to explain to him his "theory of relativity" is a delight. Also memorable is a scene with the scientist and the DiMaggio character where the great athlete justifies his "celebrity" with the fact that he was featured in 13 series of bubblegum baseball cards.

Busey is marvelous as DiMaggio, as is Ms. Russell in capturing the persona of Monroe. Indeed, all of the actors shine in their individual roles. It is their performances, as well as many of the well-written scenes from the original stage play, rather than Roeg's flair for "opening up" the action, that make INSIGNIFICANCE worth watching.

Among the extras in The Criterion Collection edition of the 1985 film are recent interviews with Roeg, his producer (Jeremy Thomas) and the film's editor (Tony Lawson). There is also a vintage "Making of" featurette and a 26-page booklet filled with essays about the picture.

© Michael B. Druxman

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Note: Will require a multi-region DVD player to view in the America's.

In this quirky highly original film director Nicolas Roeg posits the theoretical question, what would happen if Albert Einstein, Marilyn Monroe, Joe DiMaggio and Senator Joe McCarthy were all gathered together in the same hotel room for one evening in 1953?

An eclectic gathering indeed. If it helps you to conceptualize where this film is headed, think of this as an evening of psychotherapy for the rich and famous. Marilyn wants to be loved for her brain, yet continually relies on her sex appeal for attention. Her husband and sports legend Joe DiMaggio wants to express his deep feelings of love for his wife but can't seem to express himself without a pack of baseball cards in his hand. Meanwhile Senator Joe McCarthy is busy scowling and perfusely sweating as he continues a campaign of threats and intimidation against everyone in the room.

Einstein's quiet evening alone has definitely taken an unexpected turn. Between the emotional angst displayed by the vulnerable sex kitten, the inept attempt at reconcillation by her superstar husband and the politics of fear levied by the Senator, the usually aloof, unattached scientist finds himself in an environment beyond his control, even for one of his mental capabilities. It turns out to be an evening of personal discovery for all involved.

'Insignificance' is really a mixed bag, one of those films you either get it or you don't. Not by any means a great movie, but it has its moments, the best moment being Marilyn's attempt to impress Dr. Einstein by explaining his theory of relativity using toy trains and flashlights as props. Very cute, thank you Theresa Russell!

This may not be a film that would stand up well to alot of repeat viewings but worth a viewing nonetheless. Starring; Michael Emil as Albert Einstein, Theresa Russell as Marilyn Monroe, Gary Busey as Joe DiMaggio and Tony Curtis as Joe McCarthy.

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Elite Squad (2011)

I loved this movie. It was largely panned by American critics, never even making it to American theaters, except for maybe one or two in NYC (none in LA).

The film provided a valid, complex viewpoint of some of the problems that modern-day Brazil faces. If you look at comments of reviews of this film on major publications' web sites (like NYTimes, LA Times, etc), you will see that the overwhelming majority of comments are from Brazilians who: 1) loved the movie, and 2) stated that the movie got the situation right.

The film shows the point of view of patriotic police officers that want to do right by their country, although they are confounded by their fellow police officers, the well-armed drug dealers, the bought-off constituents of the slums (favelas), as well as the leftist middle class that excoriates the police on the one hand for its heavy handed tactics as well as its corruption while at the same time sustaining the local drug lords by buying their product.

It is the film's viewpoint towards the leftist middle class that I think doomed the film to never get a proper showing in the US. That, and the fact that this "honest" police force feels obligated (and in the eyes of some in the viewing public, justified) to use extra-judicial, heavy handed tactics to get results in fighting crime.

SEE THIS FILM!

Wow, what a great movie! Let me first say that I am extremely picky about movies and have found myself watching fewer and fewer as time goes by, mostly because most movies now seem to be boring and pointless. So when I do, on a rare occassion, enjoy a movie, for me it is unusual. I didn't just enjoy this movie though, I loved it. In fact, I did that rarest of things I watched it twice!

This movie focuses on the efforts of an elite Brazilian police unit in Rio and their efforts to reduce drug-related crimes. It is violent, compelling, entertaining and a first-class movie experience. Why? Because this movie avoids all the stereotypes of other cops versus drug-dealer movies, especially the simplified good guys vs. bad guys Hollywood take. It is also surprising and rewarding to see the drug war through the eyes of Brazilian culture as opposed to an American view.

The movie focuses on two young policemen, their experiences in the corrupt local police force, and their progression into joining the ranks of BOPE, the "Elite Squad" of the movie title. It is narrated by Captain Nascimento, the leader of a BOPE squad who is desperately trying to find a replacement for himself because after ten years in BOPE the stress and tension is causing him severe physical reactions, and he longs to spend time with his wife and newly born son.

This movie is AWESOME for two reasons I believe. One is that the voice of Nascimento is compelling and beautifully haunting; just listening to him speak in Portuguese as the movie plays will send shivers and chills through your body. Do not ever, ever, get a dubbed version of this movie, it would destroy the magic here. The second reason is that the movie is so highly realistic. All the characters are complex, three-dimensional, believable human beings, and their actions, reactions, and motivations are all perfectly in sync with their characters. There are no wrong, silly, or false notes played in this movie, it all rings true. The drug-dealers (trafficants) and believable, the corrupt police force is ultra-believable because the movie shows why they are corrupt, and the BOPE officers, shown through Nascimento, are completely believable as they struggle against both their corrupt peers and the desperate trafficants. This is no silly, Hollywood shoot 'em up, this is the real deal and it is my favorite movie this year. It's going into my top ten movies ever list.

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The movie is quite violent, so it will appeal to action movie fans, but more than that, it is a social movie.

I was born and raised in Rio, close to one of the many favelas in that city.

Years ago, I attended the same university one of the characters in the movie did. The students there are accurately depicted. They are upper middle class students that preach peace and social services, but while doing that, they also smoke pot. When I didn't see any problems at the time, but now, I can see the hypocrisy of preaching peace, but also financing the violence by smoking pot.

I also have a really good high school friend that's a Capitain now in the PM (Military Policy). He's not part of that Elite Squad, but he's an honest cop. So while severly underpaid, there ARE honest cops out there.

Not really a movie review, but a rant, but this movie was quite realistic and nostalgic for me.

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or something roughly translated to that effect is the motto of BOPE, The Brazilian special operations police outfit.

The story 'Tropa De Elite' tells the story of Captain Nascimiento, a captain in a BOPE squad, who because of personal and family issues wishes to relinquish his command and is in search of a worthy successor for his job. The story is a parallel to the life of 2 close friends, Neto and Matias, young and idealistic who join up with the regular police force and quickly learn the murky truth behind the corruption and extent to which it has permeated to the entire echelons of the police force. Frustrated with their role at being mere facilitators of this level of corrupt activities, they decide to take charge and do some good for the society as well as the police force.

I will not get into the specific details for the sake of sounding like a spolier, but during the course of this they come into contact with Captain Nascimiento during a hostile interaction with drug dealers from the favelas and they sign up for BOPE.

The rest of the movie revolves around the completely different personalities of Neto and Matias and how the Captain must decide who has more courage, integrity and dedication among the two friends, for the job of a BOPE captain.

One of the most intense scenes in the movie, is the course of the BOPE training that Neto and Matias have to endure.

Additonally, It also deals in a very humane manner as to the pressures the people in BOPE face and thei families as well, much to the romanticism of the whole concept, their lives are equally under a great deal of stress and issues.

But it conveys a very brutal and realistic truth, as to who actually encourages drugs and their sales and the inevitable violence that accompanies it. In the end, it is the very people that use drugs are the ones who encourage (both indirectly and directly) the whole crime in society, by and large

Its a very powerful and remarkable film, this is going to be a must buy in my collection when it becomes available. I would definitely recommend for you to see it.

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Tropa de Elite (Elite Squad) shows us the day of a member of BOPE, a urban task force existent in Rio de Janeiro, Brazil.

Inspired by the book 'Elite da Tropa' written by a former Captain of this task force (Capitão Nascimento), Tropa de Elite will give you the inside look on a 'favela', the training of BOPE, their personal problems and, even with all the bad things and the danger of being a member of BOPE, the desire and strength shown by young people who believe in good.

This is definitely, a 5 star movie.

Mozart's Sister (2011)

I had seen the preview of this movie at my local independent movie theatre for quite some time, and had begun to wonder whether the movie would actually come to Cincinnati, but this past weekend the movie finally opened here, and I did not wait long t go see this, as I imagine this will not play very long (and the DVD is coming out soon as well).

"Mozart's Sister" (original title: "Nannerl, La Soeur de Mozart"; 2010 release from France; 120 min.) brings a look in the life of 15 year old Mari Anna (nicknamed Nannerl) Mozart. She is 5 years older than her brother and wunderkind Wolfgang, but Nannerl certainly has certain musical talents as well, in particular in playing the harpsichord. But it is not until after a chance meeting with the recently-widowed Dauphin of France that he encourages her to start developing her own composing talents. Alas, that is not the way her father sees is. There are some further turns and twists but I will let you discover those yourself.

Please note: this movie proceeds at glacial speed, and I mean this as a complement. It reflects, among other things, life in the late 18th century when things simply moved a lot slower and there was not a whole lot to do to entertain one-self. I found it refreshing, to be honest. Also note: if you are not a fan of classical music, you are probably not going to like this movie, as classical music is front-and-center all over. It appears that people in those circles really didn't have a whole lot more to do than to play or listen to classical music. The harpsichord is delightfully featured prominently throughout the movie. Last but not least there are the tremendous performances, none more so than Marie Feret as the title character (not sure if she is related to the director of this movie, Rene Feret), but check out also Lisa Feret (again, no idea whether related to either Mmarie or Rene Feret) as Louise of France. In all, I found this movie refreshing and insightful, but this is definitely not for anyone in a hurry. Highly recommended!

This is a quote from the film in which Maria Anna Mozart the sister of the child prodigy Wolfgang laments that her father has opened her personal diaries and scribbled comments about the genius of his young son but her own achievements, hard work, and devotion to music are ignored.

The movie transported me...to the eighteenth century in a way that "Amadeus" did not. Whereas "Amadeus" is spectacle, this gentle film takes place in the drawing rooms or homes of the nobility. It is the time when Mozart's father, Leopold, is dragging his two amazing children throughout Europe to show them off, to improve his son's musical education, and to advance his own thwarted ambitions. Needless to say, the photography, the costumes, and the music are a delight. I adored the film, yet was saddened by its theme. Bottom line, this is the most underrated film of 2011.

Marie Feret who plays the 16 year old sister of Wolfgang is a wonder. How does she do it? Understatement. She conveys emotions all through her eyes shyness, laughter, intelligence, joy, anxiety, and alas...disappointment. [The director actually used both of his young daughters as actresses in "his film" and gets terrific performances from them]

As for the principal character in the movie, the truth is that Mozart's sister was brilliant and talented but, as a woman, she was forced to take second place to her brother. This is not to say she was the better genius. That is impossible. But her opportunities as a violinist or as a composer were walled in by her domineering father. That she might have been an extraordinary genius at least as a musician is a serious possibility. Let anyone listen to Ginette Neveu's artistry as a violinist on a CD recording and compare her mastery of the instrument to any living violinist...and you will see what I mean.

Important scenes are the interaction of Mozart's sister with one of the princesses of France. The princess is locked away in a convent and befriends the talented young girl. The princess learns to accept her role as a bride of Christ and to find joy and contentment as an obedient nun. But Nannerl, the sister of Mozart, is different from other girls. Her heart and mind beg her to create; her society and father simply won't allow it.

When I saw this wonderful film in the movie theater, I noted that two older women in the audience were crying. I asked them how they felt about the experience of seeing "Mozart's Sister." One of the ladies said "I weep for all the women throughout the centuries whose imaginations were suffocated unfairly." A tender person would feel the same way.

There is a moment, just about the end of the film, that summarized everything the filmmaker wanted to convey. Unforgettable.

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I loved this movie for reasons stated in above reviews as well: the movie has a beautiful atmosphere that really transports you to that time and that alone makes it well worth viewing. It is one of those rare movies that entraps you and really makes you forget you're watching a movie. The fact that it's about Mozart and his family and features wonderful music played by the two young siblings is the icing on the cake! Lovers of historical accuracy and fact checkers beware you will find fault. But it is really a beautiful, lovely film that should disappoint no one interested in classical music, Mozart, and the time period. Yes, it does move slowly but again this is truly representative of that time period when things moved at a slower pace, not today's fast paced world which only helps to immerse you in the experience!

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The world may be familiar with the works of Wolfgang Amadeus Mozart, a prolific and influential composer of the Classical era and among the few classical composers that continues to be popular today.

But many do not know that Wolfgang Amadeus Mozart who was a music prodigy that played piano and violin at the age of 5, grew up playing as a duo with a musically talented sister named Maria Anna "Nannerl" Mozart.

Unfortunately, we do not hear too much about Nannerl. Reason being is that during that era in time, women, no matter how talented they were musically, were not seen as equals to men. Their status was lower and men thought that women just were not capable of having talent like men, may it be playing music or composing. In fact, women were just seen as housewives, nothing more, nothing less.

In 2010, screenwriter/filmmaker Rene Feret ("Bapteme", "Solemn Communion") wrote a fictional drama based on the life of Maria Anna Mozart.

VIDEO & AUDIO:

It's important to note that I am viewing a DVD screener ala DVR, so I am not going to comment on picture quality. I will say that with a Blu-ray and DVD release of "Mozart's Sister" being released, I recommend going for the Blu-ray version for better picture and audio quality.

With that being said, "Mozart's Sister" is presented in widescreen 1:85:1 and audio in French Dolby Digital 5.1 with English subtitles. The cinematography by Benjamin Echazarreta is very good in capturing close-up scenes of emotion but also the lavish costume and set design featured in the film, but most importantly capturing that look and feel of the 1700's. The film is dialogue-driven but there are moments of music and ambience which I'm sure is much more evident on the lossless soundtrack on the Blu-ray release than the DVD version.

SPECIAL FEATURES:

There were no special features on the screener disc provided to us.

JUDGMENT CALL:

Beautifully shot, wonderful costume and set design and a film that classical music fans will enjoy, while others will find it sad knowing that talents of women were suppressed during that era in time.

"Mozart's Sister" is a sad film which writer Rene Feret really did some intriguing writing and craft a story around Nannerl Mozart, a talented musician who had to quit her passion because of the status of women during the 1700's.

While this film is a work of fiction and there is no record that Nannerl and Princess Louise of France corresponded, nor records that she and Louis le Daphin were romantically linked, what we do know is that because of that era in time, women could not really hold a high position in power or status.

For Nannerl, she was talented, she can compose and she can play, but once she reached a certain age (and her father could no longer promote her as a child musical prodigy), it didn't matter how talented she was, she was expected to be a housewife and raise children. While I don't know if there are letters showing her regret of how women were treated at the time, as I am no erudite on Mozart historical records, I often wonder if this was just accepted by women that their status was low and not much was expected of them?

What is known is that Mozart looked up to his older sister and at a young age, wrote works such as "Prelude and Fugue C, K. 394' in 1782 for the two to perform and even sent her copies of his piano concertos. We know that Wolfgang and is father were always at odds, while his sister did everything that her father wished. And while she fell in love with one man, her father turned down his marriage proposal, despite Wolfgang trying to get his sister to stand up for herself.

So, there may be a different from what is featured of Nannerl in reality to what was Nannerl in the film. In the film, Nannerl Mozart walked on the beat of her own drum and not that I would use the word "fearless" but she did what she wanted despite what her father would think. But in reality, it was Wolfgang who walked the beat of his own drum and made his own choices, his sister did what her father asked.

And while the film is quite evident that the message was how unhappy women were that they weren't given the same liberties as men (as both Nannerl and Princess Louise have a conversation about how things would be different if both were born a boy), the sadness I have towards this film was the fact that the talented Nannerl had to give up so much and would never be recognized for her talent because she is a woman.

In reality, things even get worse as she was forced to marry a man who was in his '50s and had children, she died blind, unable to speak and even for her first son Leopold, her father Leopold literally took her son away and raised him. While it is debated of why Leopold raised his grandson and not Nannerl, it is thought that Leopold wanted to raise his grandson in a similar manner to Wolfgang and Nannerl and for him to become a musical genius.

And last, that loving relationship between Wolfgang and Nannerl ended for some unknown reason.

If anything, the more you read about what is out there of Nannerl Mozart, it is quite depressing. At least "Mozart's Sister" would make things a bit dramatic but I wouldn't be surprised if the reality was that Leopold had a tremendous hold over his daughter and literally suppressed all independence from her and that she had no voice whatsoever. She listened to her father and did everything that he wished.

As I watched "Mozart's Sister", you have to give Rene Feret some credit of trying to make Nannerl's life so dramatic. How he came up with the Princess Louise and Louis storyline was out of left field but for the film, it did work.

Feret's film doesn't follow the traditional Hollywood film of a happy ending. We know that Nannerl is not going to be able pursue her life as a musician, we see in her face how unfortunate things are that her younger brother will have all the opportunities and she won't.

While purists and the Mozart erudite may be irritated by this fictional story, and possibly would rather see another film about Wolfgang than his sister, I did enjoy "Mozart's Sister" (although I felt it ran a bit too long for my taste). The cinematography, costume and set design were beautiful, acting could have been better at times but for what its worth, while the film was banal, the fact that filmmaker/screenwriter Rene Feret was able to craft a story around Nannerl Mozart was rather fascinating but definitely opened my eyes and made me want to know more about Wolfgang Amadeus Mozart and his family.

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The premise behind this movie is promising. We know that Wolfgang Amadeus Mozart had an older sister, Nannerl, who was also a highly accomplished musician and was forced to give up her career when she reached marriagable age. In this biopic, the filmmakers invent a story for her that involves a steamy, if unconsummated, relationship with the Dauphin of France, the heir to the throne. There is no historical basis for such a relationship.

The filmmaker's central point seems to have been that because she was a woman, professional doors were closed to poor Nannerl. This is undoubtedly true. This point is hammered home, for those of us too dense to have understood it before, in a conversation between Nannerl and Princess Louise de France, the youngest child of Louis XV. Louise has decided to become a nun, seeing no other way forward. "But think if we had been males!" she says to Nannerl. "I would have ruled through my power and you through your artistry."

Incidentally, the Dauphin depicted in this movie died in 1765. Mozart was born in 1756 and was 11 when this visit supposedly happened, bringing us to 1766. The Mozart family's main sojourn in Paris, when they performed before the Royal, was from November 1763 to April 1764.

I know these details make me sound like a nitpicker and I don't require historical accuracy in movies -otherwise I'd be pretty frustrated all the time. But this one has such a slender grip on the historical record that I could not take it seriously. Additionally, it moved at a sluggish pace and the actors often seemed to be reading rather than speaking their parts.

But the worst offense was the sound quality of the music, which seemed to have been recorded in a padded cell. And the music itself, rather than being Mozart, is a kind of modern, Baroque-style mishmash that sounds pretty in a kind of movie soundtrack way without ever being memorable.

I can accept that Nannerl was undoubtedly a prodigiously gifted musician, as was her tyrannical father Leopold. A few of his works are still played today and have some merit. Perhaps, Nannerl would have equaled him. But there was only one Wolfgang Amadeus Mozart.

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