Pride & Prejudice (2005)

Okay, I am a rabid Frith and BBC fan of the miniseries, but I was very impressed with this adaption and found it refershing in it's grounded, youthful take on the story.

For starters, there is a very grounded nature to the presentation of the story. Some Austenites got their knickers into a twist because they thought it made the family and their circumstances too drab looking. But I loved it! The Meryton Assembly basically sets the stage for this grounded approach-the dancing looks a little heavy footed, the girls look sweaty, and you can't help but think that someone needs to open a window cause it looks awfully sweaty! But at the same time,it made the story come alive, like you were a fly on the wall, peeking in on Lizzy and Darcy and the rest of the gang.

Lastly, I loved the youthful take on the story. I LOVE Firth and Ehle as the '95 leads. They had this chemistry and sensual tension that was electric! But their take was definitely from a mature standpoint-like the way I'd act now as a 33 year old woman. Whereas Macfadyen and Knightley? Theirs is a more youthful, innocent, first love take that I just took to. Great chemistry, Lizzy's a little less cocksure, Darcy's a bit more unbalanced by this attraction, and it felt right in terms of age and stage of development with the actual characters in the book.

Great adaption, brisk storytelling, and a wonderfully irreverent tone by a fun director who knew it was a good idea to knock the pedestal off from under our Lizzy and Darcy, and let them be seen in a more grounded light. And ps-I thought Macfadyen, even though he doesn't have that big of a part, was a great Darcy!

First, to all of the Jennifer Ehle and Colin Firth lovers (of which, I am one), we will always have that remarkable masterpiece. Therefore, we should be able to judge any new versions freely. Having said that, this version is great!

This movie is quite shorter than what we're used to for P&P adaptations and at first it seemed to me that the dialogue was rushed, but after the first 15 minutes it either slowed down or I ceased to notice it, until Darcy's proposal scene anyway, but it worked quite well there.

This film is also much more of a comedy than the two BBC versions. There were minor changes with dialogue but none of the changes lessened any of the characters or the spirit of the story. Instead, it probably enhanced the feelings the audience shared with the characters. In fact, I think that everything left out of the two previous BBC versions were added to this one so you still get something new from the same story.

One major change is the loss of Mr. and Mrs. Hurst. In a two-hour movie there just isn't enough time to do their characters justice. The rest of the cast is so marvelous though that we barely notice they're missing and it makes the movie flow more naturally.

The actors chosen are wonderful in their parts. I didn't think I'd be able to accept Keira Knightley as Elizabeth but after the first five minutes I was completely taken in by her. She pulls off Elizabeths witty dialogue like, well... Elizabeth and just as Jennifer Ehle added some distinctive traits to Lizzie, so does Keira. She wonderfully manages to show us Lizzie's love of a good laugh without making it seem as though she was a giggling loony and every time she smiles, we smile with her.

I won't critique all the performances but I have to add that Donald Sutherland really does a spectacular job as the head of a household of silly women. The last scene with him and Lizzie had me in tears.

Not to say that this movie was perfect, what adaptation can be without some faults or silly alterations? None are too serious though. The first is at the Meryton ball, when Darcy, Bingley and Caroline walk in, everything stops. The music, the dancing, all conversation and the crowd parts to offer them a path. I thought for a second the crowd had mistaken Mr. Bingley for royalty. It just seemed a bit over the top. But it passed quickly enough. The other was actually Darcy's proposal scene which was done in the rain. I thought it silly that he would follow her outside in such weather to propose, but one can accept that in view of the other changes that turned out so well.

I give this movie 5 stars because I wouldn't want to miss it and I don't think any P&P fan should.

All in all, if you have a good sense of humor and aren't afraid to laugh, like Elizabeth, you will just enjoy the story as it is played out. Remember, afterwards you can always put Jennifer and Colin Firth back in the DVD player.

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OK, I'll admit it: I've gone to the theater to see this 6 or 7 times already--I've lost count; I'm thrilled that the DVD is coming out sooner rather than later.

No, this is not the much-loved 1995 multi-hour A&E version. And no, MacFaydan is not Firth, and Knightly is not Ehle. And some liberties were taken with the original storyline (sometimes a bit disconcerting like Lady Catherine's night time visit?? and Bingley entering Jane's sickroom, even before knocking?? "simply not done" in those days!).

But I very much agree with the positive reviewers below --this version is MOST enjoyable on its own. The scenery, photography, and music are gorgeous (you must buy the CD!). Darcy and Elizabeth are still wonderfully Darcy and Elizabeth. It was a little disconcerting at first to see so much mud, livestock, and plain gowns--but you get past that fairly quickly. And it seems maybe a bit more realistic for country gentry.

BTW--if you're a P&P addict like me, don't miss Pamela Aiden's Darcy trilogy--it tells the entire story from Darcy's viewpoint and fills in a lot of what I think is missing. Also, if you have wondered what might have happened after the wedding and like a "spicier" novel, read Linda Berdoll's "Mr. Darcy Takes a Wife" (Austen meets Bronte and Sandra Brown).

Read Best Reviews of Pride & Prejudice (2005) Here

Yet another re-release DVD, promising more special features when any regular fan, like myself, already has the first DVD release.

About this DVD:

1st Disc: Is the exact DVD released prior to this one. It has the widescreen movie version and all the same features on the previous DVD release.

2nd Disc: This is the new disc with "extra" special features including...

-Fullscreen movie version.

-"The Politics of Dating" A short feature with cast, crew, and director talking about modern vs. P&P time dating (i.e. dancing, the 'touch', etc). Most of the interview clips are recycled from what we've previously seen on the first disc special features. And brought little to nothing new to the table and lasted around 7 minutes.

-"Galleries of the 19th Century" Interactive photo gallery. Fun.

-"The Stately Homes of Pride and Prejudice" A small handful of about 5 minute interviews with cast, crew, and director talking about the different locations they worked at. New stuff, but nothing exceptionally interesting that lasts for long.

-"Pride and Prejudice Family Tree" A DVD menu telling us how the characters in the movie are related. It is pointless and useless, nothing interesting or new.

-And that's IT.

Packaging:

It's absolutely gorgeous. I think all the money was spent on the box rather than putting together a decent 2nd disc. The package is made to look and open like a book. It's a great, beautifully designed set that is hard to resist if you saw it in stores.

Booklet:

A booklet was included in this set with some new, unseen photographs and talk about costumes, characters, and music. It's basically like a scrapbook of images and tidbits of various cast and crew's thoughts.

Included:

The soundtrack is included in a paper sleeve along with a ticket for director Joe Wright's upcoming film Atonement.

Conclusion: If you were hoping for new interviews with the cast and director, unseen behind the scenes footage, deleted scenes, or anything worth shelling out more money to buy another DVD for, then you will be severely disappointed. If you're like me, and already own both the movie and soundtrack this really isn't worth the $28 buy. Because ultimately you're just getting just a pretty box, another copy of the DVD you already own, and a throwaway extra disc. But if you don't have the DVD or soundtrack yet, then I say go for this set because it will be worth the extra money to get both the movie and soundtrack, and flashy box.

I give it 2 stars for the pitiful attempt at "exclusive all-new features"

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This film is a favorite of my wife and I; we have watched it several times in DVD format and thought it looked pretty good. I bought the Blu-ray version as soon as it was released and compared it to the DVD on our HDTV. What a difference! The BD is a huge improvement (as it should be) and has made this fine movie just that much better!

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Newton Boys (1998)

I give this movie 7 stars out of 5 stars. First rate blue ray, and first rate audio. Very interesting story, with first rate acting. Movie you should enjoy watching many times. Like Bonnie & Clyde should go down in film history. Must buy if you enjoy these bank robbing movies.

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The Bridge on the River Kwai (Two-Disc Collector's Edition) (1957)

I'm still not entirely sure why Amazon lumps the reviews for all versions of a given release in the same category. It makes it especially hard to locate reviews on the blu ray version. Anyway, this is a review of the blu ray version recently released, in a collector's format. It is composed of basically a digibook within a hard external case, which is quite flashy as it has raised illustrations and looks quite nice. Upon removing the digibook (which is quite a bit thicker than others), you will find a blu ray version of the film, a dvd version, and a few other things.

First up is the small production book. Actually in comparison with the material you get from other digibooks (which are usually scant on information), these few pages are full of notes and events during filming, almost a quick documentary in itself. It's nice to see a version of this book-within-case that is heavy on words and light on pictures, which are still nice on a few pages.

Second are the replica lobby cards, located after the incorporated book. Not much to say about these, a nice addition for collectors but not much else.

Finally the movie itself. As far as picture goes, its unbeatable for a film from 1957. Much like the other big releases around this time period, care was indeed taken to release a near perfect picture. Obviously in full 1080p, the lighting and scenery really shine here. I'm no expert on filmography and never really looked into the film types and ratios, but what I can judge is a quality blu ray transfer. The picture is sheer excellence down to the last scene, and is quite reminscent of the older James Bond transfers which were fantastic. All in all, as good picture as you'll see anywhere else in blu ray. The audio is great as well, with a fantastic 5.1 transfer. I have 5.1 sound, and it I can tell you it was transferred with the utmost of care. There is no mono soundtrack included in this version.

Extras include a wealth of features, including the previous releases' documentaries and new unreleased features such as Alec and William on the Steve Aleen show. Also included is a narration of the premiere by Holding. The main thing here is the "beyond the bridge" section, in which the full film plays and when applicable scenes come up, the screen size is reduced and graphics will appear on the screen with the movie, along with factoids about the scene. It is a great feature for those who won't mind the screen reducing every now and then.

All in all, this is the definitive version of the film. Chock full with features that you'd expect from a collector's release as well as the film itself (ranking among my all time favorite films), you can't go wrong with this. If you own a previous version, strongly consider this. If you've never owned it or seen it, buy it TODAY.

David Lean's "Bridge on the River Kwai" is one of my favorite movies of all time, and one one the greatest war movies of all time, but a differnt war movie. Can the civilized Colonel Nichoson (brilliantly played by Alec Guinness and won him an Academy Award for best actor) defy the brutal Japanese Colonel Saito(Sessue Hayakawa, also brilliant)and win the war of wills? At first we think he won't but the plot takes a strange turn and this Nicholson turns out to be as fanatic as Saito is in the prison camp. Beautifully shot in Ceylon(Sri Lanka) serving well for Burma by Freddie Young, Lean's great photographer also for "Lawrence of Arabia" the viewer can feel the heat and humidity, see the starving appearance of the prisoners, who start buiding the bridge as a lark until Nicholson wins his points of honor and they work harder than ever. My favorite line in the movie is one of Colonel Saito's favorite sayings: "Be happy in your work," which takes on more and more irony as the film and story unfolds. There is a side plot, with William Holden barely escaping, only to be brought back back with hard-core commandoes(led by demolitions expert Jack Hawkins) to the camp to blow up the bridge. This is a wonderful psychological and subtle war film, with just enough adventure and action to balance its war of words, over the Geneva Covention(Nicholson keeps a copy of it in his pocket and then is slapped with it by Saito)over points of British stiff upper lip and Japanese warrior code,Bushido, two vastly different viewpoints but in the end breed fanatics. The acting, editing, writing,and photography are all flawless. This is one of the few war movies made forty ago that still rank with any today. A true masterpiece, much imitated. Lean is a director of place and attends to all the small details, from the ratty prisoner uniforms,a Japanese sentry standing guard in the heavy rainfall, and the haunting whistling of the entire ragged British company, marching tired and disease-infested into a new camp just after Holden has been digging graves. And the camp doctor, well-played by James Donald, saying "Madness! Madness! after watching the bridge being blown while a train crosses over. A true classic of any genre. The restored version is excellent and again , since I saw this movie on a large screen, see it if you can at the theater, even if you own this video. It is that good.

Buy The Bridge on the River Kwai (Two-Disc Collector's Edition) (1957) Now

The release of David Lean's powerful, intelligent and thought provoking anti-war masterpiece on widescreen DVD accompanied by the added bonus documentary "The Making of the Bridge on the River Kwai", along with other featurette's, theatrical trailers and an appreciation of the film by noted director, John Milius, is indeed a cause for celebration amongst cinema afficiando's of this most superb of motion pictures.

The remarkable novel by Pierre Boulle (also author of "Monkey Planet"...filmed as the memorable "Planet of the Apes") is masterfully brought to the screen by director David Lean, a true genius behind many historical epics.

Deep inside snake ridden Asian jungles, British and American prisoners of war toil under the sweltering tropical sun working on part of the infamous Burma railway that claimed thousands of Allied lives during WWII. Colonel Saito (talented Japanese actor Sessue Hayakawa) presides over his POW camp with an iron rule...driving his Japanese troops as hard as his malnourished prisoners. Enter the honorable and steadfast English POW, Colonel Nicholson (Alec Guiness in an Oscar winning performance) refusing to capitulate to Saito's demands that British officers perform manual labour alongside enlisted men. Each man's blind adherance to their own personal code of honor sees the two men plunge into a psychological war of will, bravado and courage...each determined not to waver from their personal beliefs.

As these two leaders clash with each other, American prisoner of war and resident camp gravedigger, Shears (William Holden) effects on escape from the brutal prison camp and after nearing death, he makes his way back to the Allied forces. Unfortunately for the timid Shears, he is coerced to guide a suicidal commando mission with Major Warden (Jack Hawkins) and Lieutenant Joyce (Geoffrey Horne) to return to the enemy infested jungles and blow up the railway bridge being built by Nicholson and the British prisoners of war.

Each differing path taken by Nicholson, Saito & Shears eventually intertwines and ultimately sees the three men confront their own inner fears and beliefs with tragic circumstances....

Seven Oscars bear testament to the wonderful attributes of this movie....including Best Picture and Best Actor...plus "Kwai" is regularly listed by critics as one of the most influential and highly regarded movies of the 20th century. For some additional in-depth behind the scenes reading on "The Bridge on the River Kwai" check out the insightful William Holden biograpy entitled "Golden Boy". Excellent reading !!

Quite simply an absolute "must have" addition to any DVD collection, "The Bridge on the River Kwai" remains a benchmark in inspirational movie making....I cannot recommend this film highly enough !!

Read Best Reviews of The Bridge on the River Kwai (Two-Disc Collector's Edition) (1957) Here

This review refers to Columbia/Tri Star 2000 release DVD of "The Bridge on the River Kwai"....

I am still whistling that wonderful theme song from this film(I watched it 2 days ago),"Colonel Bogey March". From the moment the British soldiers march into the Japaneese P.O.W. camp, whistling that tune I was once again hooked on this fabulous World War II movie!

The story, based on the novel by Pierre Boulle, is loosely based on actual events that occured during the war.The very proper Colonel Nicholson(Alec Guinness) leads his captured,but proud and tattered British troops into the Japaneese P.O.W. camp they have been assigned to.It is there that he comes face to face with the commander of the camp, the equally proper Colonel Saito(Sessue Hayakawa).Saito and Nicholson are immediatly at odds, concerning the assignment of the British, to build a railway bridge for their enemies over the River Kwai.Both men are highly principled in their beliefs, stubborn in their ways and will not give in where their honor is concerned.Saito seems to have the upper hand, using cruel and unusual punishment to try to persuade Nicholson, but to no avial. The bridge must be built and eventually they come to a compromise.Nicholson sets his men to the task in an almost obssessive way and takes great pride in the job his men are doing.

Meanwhile......an escapee from the camp, American sailor Shears(William Holden),whose only ambition is to get home, has now "volunteered" to lead a task force, including the over zealous British commander Major Warden(Jack Hawkins),back to the camp so they can blow up the bridge.And of course you know with Holden leading the team there will also be some romance mixed in with the action!

It's a great adventure from start to finish. Directed by David Lean with perfection, filmed in the breathtaking locales of Ceylon, with an engaging script by Michael Wilson and Carl Foreman, you'll fall in love with this epic film.It recieved the Best Picture(1957) Award from Oscar and also garnered a Best Director for Lean, and Best Actor for Guinness, as well as Screenplay, Cinematography, Editing, and Music Scoring!

You will not miss one detail of the jungles in this beautifully remastered DVD. The colors are sharp and vibrant. It is presented in the original theatrical widescreen(anamorphic), aspect ratio 2.55:1, and every bit of scenery right to the edges is outstanding. The choices on the sound are 5.1 Dol Dig or 2.0 surround. The dialouge is crisp and clear, as is the musical score. The surrounding sounds are not quite as clear but is still good. It may be viewed in several languages or with subtitles as well. There is not too much on the special features on this edition(see tech info), however there is a "Limited Edition" for not much more than this one with a ton of extras(if only I'd known when I bought this one...),that is also by Columbia so I would guess the picture and sound are excellent as well.

One of the best war movies ever made..go for it..Laurie

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Richly deserving its 1957 "Best Picture" Academy Award, "The Bridge On The River Kwai" is truly one of the best motion pictures I have ever seen (and I had never seen it even once until just a few days before writing this review).

Directed expertly by David Lean and produced by Sam Spiegel, "The Bridge On The River Kwai" never falters. From the very first well-composed "CinemaScope" frame, right through to its exciting climax, everything about this motion picture is spot-on perfect.

The film tells the World War 2 story of a group of British P.O.W.s who are handed the assignment of constructing a railway bridge across the Kwai river, deep within an Asian jungle in the hot and steamy summer of 1943.

Each actor in this movie shines brightly in his respective part -beginning with Alec Guinness' absolutely wonderful award-winning portrayal of "Colonel Nicholson", who undergoes more than his fair share of torture and abuse at the hands of the Japanese "Colonel Saito" (played by Sessue Hayakawa). Guinness' Nicholson is a man guided by an immovable set of rigged principles. And he ends up winning his battle of nerves (and torture) against his Japanese enemy. A truly remarkable performance by Mr. Guinness. It's no wonder he was nominated for the "Best Actor" Oscar for his role in this film. And, rightfully so, he won the award as well.

The great William Holden (age 38 here) earned a healthy 1-million-dollar salary for his part as "Shears" in the movie (plus he got a portion of the film's box-office receipts too). And he earned every cent, as far as I'm concerned. While his part is not quite as deeply-layered or extensive as Alec Guinness' in the picture, Holden's character is still a vital and integral part of the film, as he plays a soldier who sets out on a mission to destroy the River Kwai bridge.

Jack Hawkins rounds out the main cast, as "Major Warden", the hard-nosed leader of the Allied Commando team assigned to blow up the just-finished Kwai railway bridge.

An interesting thing hit me a day after I finished watching this movie for the first time -I found myself re-living portions of the film over again in my head, and (of course) found myself whistling the unforgettably-sensational "River Kwai March" theme tune (aka "Colonel Bogey March"), which is something that's likely to stay with you for quite a long time. (The DVD Menus make sure you won't forget the melody either.)

Plus, the day after I saw it, I also found myself already beginning to appreciate the "timelessness" and award-winning flavor and grandeur of this epic-scale motion picture. And I even felt a strong desire to watch the whole 162-minute film all over again the very next day. When a movie can have that much impact on a viewer, what better compliment can there be to emphasize its greatness?

Columbia TriStar Home Entertainment released the 2-Disc edition of "The Bridge On The River Kwai" on November 21, 2000, and it's a great-looking DVD in all respects, in my opinion. Sporting a beautiful and colorful Anamorphic Widescreen print of the film, Disc One of this two-disc set contains the full-length film in its original CinemaScope aspect ratio of approximately 2.55:1. The lush quality of the photography shines through brilliantly here via this nice, crisp-looking Widescreen version. I'd hate to think of having to watch this movie in a hacked-to-pieces Pan-&-Scan Full-Screen version. Luckily, such torture is not required here, because the original Widescreen format is available on this DVD.

There are multiple Dolby Digital soundtracks to choose from for the movie -a 5.1 Surround track plus a 2.0 Surround option as well. Both of these tracks sound very good to me. Lots of subtitling options are available as well, plus an "Isolated Music Score" soundtrack too.

Several fulfilling bonus features take up residence on Disc #2, including a nicely-done 53-minute Making-Of documentary, as well as an original 1950s-era vintage behind-the-cameras featurette ("The Rise And Fall Of A Jungle Giant"), which has a satisfying old-time "nostalgic" feel to it.

While I very much enjoyed the "Jungle Giant" mini-featurette (which lasts for a little more than 6 minutes) for its unique behind-the-scenes type of footage -I couldn't help but scratch my head in bewilderment when the final portion of the program seemingly is cut off abruptly without explanation. The narration and video build the viewer's suspense, taking us right up to the brink of the dramatic one-take-only scene of the bridge being blown to bits, then there's a splice in the film just prior to seeing any behind-the-scenes stuff of the actual detonation, with the film then trailing off into its closing few seconds (an "epilogue" of sorts). Very odd I thought. Makes me wonder if that bridge-blowing sequence was somehow lost and not able to be recovered for some reason.

Additional DVD Extras --A "USC Short Film" (with an introduction by William Holden), which runs for just under 16 minutes. This is a kind of a "lesson" in filmmaking techniques, with "The Bridge On The River Kwai" used as an example of what goes into feature filmmaking. Lots of behind-the-scenes footage on the sets of "Kwai" is included here.

Another featurette on Disc 2 is "An Appreciation By Filmmaker John Milius". This is an 8-minute "appreciation" of "The Bridge On The River Kwai" by Mr. Milius, as he provides his personal thoughts on the film and its impact on him. Needless to say, he loves the movie. And his comments here are quite interesting too.

There are also four Theatrical Trailers included as DVD bonus material (including one for "River Kwai"). Plus -A 7-minute "Photo Montage" (on a musically-scored timed track, with "Pause" capability enabled). The "montage" was a slight disappointment to this writer, simply because it only includes photos of poster art and advertising materials for the film. No "publicity stills" are included at all. Which is kind of odd because a few such items are seen within the Making-Of documentary. Still, the filmed montage is done very nicely, with appropriate underscoring to add atmosphere.

Rounding out this healthy batch of DVD supplements is a "Talent Files" section, featuring brief text-only bios on five members of the "Kwai" cast and crew.

Also included as part of the 2-Disc "Limited Edition" DVD package is a collectible 12-page booklet, which is a replica (reprint) of the original 1957 souvenir book. The last page of the booklet is a DVD Scene Selection guide for the film's 40 chapters.

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"The Bridge On The River Kwai" took more than a full year to film and edit, finally making its debut in movie theaters on December 18, 1957. But that year spent in the Asian jungle was definitely worth it. Because what resulted from that strenuous year of sweat and gritty filmmaking was a true cinematic masterwork.

So, take this DVD for a spin soon .... and then watch yourself replaying much of the movie in your head the next day. For this is a DVD to treasure; and a movie to remember. For all time.

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For a Few Dollars More (1965)

For A Few Dollars More is, in my opinion, by far the best of the "Man With No Name" trilogy! In "A Fistful of Dollars," director Sergio Leone bowled the viewers over with Clint Eastwood's character being a gruff gunslinger of few words and lots of action. In this sequel Eastwood's character has a lot more depth and even a little bit of humor. I am highly impressed with the script and acting in this particular film, especially in comparison with its predecessor. One can even consider it funny but useful that a few of the villains from the first film that were quite dead at the end of that one, are back now with new names! Magnificent performances by both Clint Eastwood and Lee Van Cleef serve to enhance this movie's style.

The premise:

This movie has a wonderful beginning as we are introduced to Lee Van Cleef's character while he's in the performance of his role of a bounty killer. We are then treated to the reintroduction of Clint Eastwood's character, which actually does have the name of Monco, while he is taking care of his business as a bounty killer as well. Once the director has shown these two acts, he deftly shows how they end up on the same path as they both find out that they can score it big by killing Gian Maria Volonte's character, Indio and his gang. From there, we're taken to El Paso where the film's intrigue and suspense kick into high gear as both Eastwood and Van Cleef's characters meet.

If you've never seen this movie or its predecessor, I highly suggest you check these movies out as they're basically the mold for many of the westerns that followed. Prior to this movie and "A Fistful of Dollars," westerns were much tamer, which lends to the popularity of these movies which have a lot more grit and realism to them.

Special Features:

Just like "A Fistful of Dollars" this movie is jam packed with hours and hours of special features, documentaries etc... This DVD is all about what it's supposed to be, the movie! It does include a great theatrical trailer and an exceptional 8 page booklet that gives a lot of great information about the movie and the people involved. {ssintrepid}

This review refers to the Delux Widescreen Edition VHS.....

He's back for the money again. This time as a "Bounty Killer", who always gets his man. When the poster says "Wanted Dead or Alive", look out if Clint's in the neighborhood! The man with no name (they do mention a name in this one but never actually refer it to him, so it's anybody's guess) has been tracking down the small fry, and now the big fish,Indio, has escaped from jail, leaving a bloody trail and a big price on his head.

Clint follows his trail, but he's not alone in his quest,Col. Mortimer(Lee Van Cleef) is determined he will be the one that gets this guy.They each try to "dissuade" the other, but to no avail. So they team up and set a plan in motion. But can Mortimer really be trusted? Is the money his only motive? Will he betray our guy?

There's lots of great western action and classic scenes, as these two persue Indio and his bloodthirsty gang of thieves.You won't want to miss a minute of it as these two quick draws show their stuff.There are also some wonderful comic moments to break up the action,watch for those.

If you're thinking of getting the VHS or waiting for a special edition DVD to come out you'll be happy with this tape. The digital Video transfer is a good picture, the widescreen(there's also a standard format edition if you prefer) lets you view all the great western scenery, and basically the sound(Hi-Fi) is good as far as clarity and the great musical score by Ennio Morricone. But the dubbing of the dialouge is a little off.The movie is so good though, I could not bring myself to take off a whole star just for that reason. It's classic Clint and Director Sergio Leone knows how to make a clasic western!

Sit a spell and enjoy....Oh and where DOES Clint get those wonderful panchos?.......Laurie

here's a couple of package deals for Eastwood Fans:

The Gauntlet/True Crime

Clint Eastwood Selection: Dirty Harry/The Outlaw Josey Wales/Unforgiven

Not always available but keep an eye out for a good deal

Buy For a Few Dollars More (1965) Now

Prior to this film, the Western movie genre had just been about been done to death in the United States. It took an unknown Italian director (the ingenious Sergio Leone) borrowing from a Japanes film source (Kurosawa's Yojimbu) to create one of the most incredible anti-heroes in movie history: The enigmatic Man With No Name played by the legendary Cline Eastwood.

"For a Few Dollars More" is the second film in the Man With No Name Trilogy. The first film was the highly-influential "A Fistful of Dollars," which seems to be perpetually playing on television. "A Fist Full of Dollars" was made for a mere $ 200,000, but was an incredible film.

"For a Few Dollars More" is even better. It has a much higher budget and a much more complex plot than its predecessor. I don't want to reveal too much about the plot to this film for those who have never seen it. It's a great story. A landmark film that will never be forgotten. Make sure you see all three movies in this trilogy. The final chapter in this trilogy is "The Good, the Bad and the Ugly," which might be the most well-known Western in the history of cinema.

Again make sure you get a copy of this film. After watching this film, you'll wonder why Hollywood can't make films like this anymore. They should.

Read Best Reviews of For a Few Dollars More (1965) Here

Federico Fellini is often credited as "the Greatest Italian Director." For me, however, Sergio Leone earned those laurels. More than deSica or Fellini, Leone's movies were Italian to the core: Grandiose, operatic, melodramatic, full of vendetta and vengeance. The irony is that Leone's most memorable movies took place not in Rome, the Abruzzi mountains or Sicily, but in the Old West.

With his epic "Once Upon a Time in the West" and "The Man With No Name" trilogy, Leone not only resuscitated the Western genre, but set a new standard. His first Western, "A Fistful of Dollars," was basically a retelling of Akira Kurosawa's "Yojimbo"; a Samurai tale transplanted south of the border in old Mexico. With "For a Few Dollars More," Leone really opens up as a screenwriter and director. Gone is the claustrophobic town of "Fistful," replaced by the full sweep of the great American Southwest (for which the drier regions of Spain provide a reasonable facsimile for those of us who know that Tucumcari is hardly so dry and El Paso nary as mountainous).

Leone also begins staking out his territory as director with this one, too. "For a Few Dollars More" bears more traces of Cecil B. deMille than Kurosawa, as Leone starts trending toward an epic production that reaches full fruition in "The Good, the Bad and the Ugly" and "Once Upon A Time in the West." However, Leone's *style* of Western could never be confused with John Ford -rather, it hearkens back to the more violent moments found in Westerns such as "Winchester '73" (Anthony Mann), "High Noon" (Fred Zinnemann) and "Rio Bravo" (Howard Hawks), and looks forward to the gritty, realistic violence from directors influenced by Leone, such as Sam Peckinpah, Francis Ford Coppola and Martin Scorsese.

"For a Few Dollars More" is a tale of three men, and their respective missions: Indio, played by the great Gian Maria Volonte, is a sadistic, psychotic, killer and bank robber. His performance reminds me of Toshiro Mifune's best roles -big, tough, and foreboding. Clint Eastwood plays one of the men who try to hunt Indio down, a bounty killer named "Manco," reprising his role from "Fistful" as a mercenary for hire who plays by rules from his own book. But it's Lee Van Cleef as Colonel Douglas Mortimer who really steals the show. If you think Clint's squinty-eyed visage fills men with fear, then you ain't seen Van

Cleef -his eyes are steely, intelligent, intense; you can tell when Mortimer has somebody's number that he isn't bluffing.

The opening scenes set up the story beautifully: Indio and his gang are planning a big robbery at the Bank of El Paso and both Manco and Mortimer have set out to round up the bad guys. After a couple barroom scenes establishing the bounty killers' credentials as ice-cold killers, Manco and Mortimer pair off in a battle of wits, a showdown during nightfall in the streets of El Paso.

After proving to each other what deadly accurate shots they are, Mortimer proposes they team up to go after Indio and his gang, backed up by the realistic observation: "When two hunters go after the same prey, they usually wind up shooting each other in the back."

So working "one on the inside" (Clint) and "one on the outside" (Van Cleef), the two manouever Indio and his gang after they dynamite the bank and steal the safe. The scenes on the streets of Agua Caliente (Spanish for "Hot Water," which Manco and Mortimer will soon be in) are eerily silent. Indio' gang has free rein in the town, the hoofbeats of their horses a harbinger to windows slamming shut on the whitewashed adobe houses.

Though Clint plays a wise guy, over the course of the movie he discovers wisdom beyond his own years in the person of Mortimer. Clint may be cool, but never as cool-headed as Van Cleef, who sees through all of Clint's ruses and double-crosses. Van Cleef rides them out, cutting Clint way too much slack it seems. But by the final scene, a showdown between Mortimer and Indio, all the patience and faith Mortimer has invested in Manco pay off. For the showdown is rigged entirely in Indio's favour, but -having learned a thing or two at the feet of a real man of integrity -Manco shows up to make the playing field even for Mortimer. It's a beautiful scene, to see that Manco has dropped his cynical pose and accepted Col. Mortimer as a father figure.

The quintessential Leone Western (I won't degrade it by calling it a "Spaghetti Western"), "For a Few Dollars More" is filmed and cut a lot tighter than "The Good, the Bad and the Ugly," though it still comes out over two hours long. Ennio Morricone's soundtrack really melds seamlessly with the action onscreen. Morricone was to Leone as the great composer Bernard Herrmann was to Alfred Hitchcock: Leone's movies were only 60 per cent complete before Morricone laid down tracks just as pungent and larger-than-life as the story and actors on the screen. Today's composers, who are so busy trying to write "understated" scores for today's boring fare, could learn a thing or two from the beautifully bombastic Morricone.

The DVD widescreen presentation is much better than the fullscreen VHS. However, the colours are pretty washed out. I understand that MGM/UA has restored "The Good, the Bad and the Ugly"; I hope "For a Few Dollars More" is slated as well for restoration or preservation.

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this sergio is really the film that solidified sergio leones work sergio had more money to spend with his success of fistful of dollars and started to created his trademarks striking visuals, eerie music, a slow lingering camerathe pocket watch theme used so scarily in for a few dollars more would be used again and again in all his films -once upon a time in the west and also once upon a time in america and also good bad and the ugly.

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The Bucket List (2008)

Selecting a category for this very fine film results in the all-encompassing label 'mixed media', for lack of a better term. It is smart (with an excellent script by Justin Zackham), addresses some important social issues, and it has moments of touching tenderness and equal moments of very sold comedy. AND it greatly benefits from the casting of Jack Nicholson and Morgan Freeman, two consummate actors playing out a theme that is unexpectedly a solid study of friendship and love.

Carter (Morgan Freeman) narrates the story: Carter gave up his dreams for a college education and major career to support his surprise child from his wife Virginia (Beverly Todd) and has worked as a mechanic to support his own family, including his son Roger (Alfonso Freeman, Morgan's son in real life also!). After his children have all become successful, Carter is suddenly diagnosed with terminal cancer. He is hospitalized for chemotherapy, only to be placed in the same room with the wealthy and cantankerous owner of the hospital, Edward (Jack Nicholson) who also has been diagnosed with terminal cancer and is also in the hospital for chemotherapy. Edward's only 'friend' (he has basically alienated the world through his behavior) is his assistant Thomas (an excellent Sean Hayes) who tends to his every need. Gradually the two disparate men grow into a friendship united by the common bond that they both must face impending death. Together they create 'the bucket list' things they want to do before dying, and because of Edward's wealth, they leave the hospital on a worldwide adventure of skydiving, racing cars, visiting the pyramids, etc. The manner in which these two elderly men bond casts a warm glow over the film without ever touching on the maudlin risk of communication. They simply grow in their appreciation of life as they learn from each other.

Freeman and Nicholson are in peak form here and the supporting cast is very fine. But special credit must go to director Rob Reiner for giving us yet another film about humanism that would enrich the lives of anyone who takes the time to watch this very fine film. Grady Harp, June 08

By what they've accomplished? According to soft-spoken cancer patient, Carter (Freeman), you measure a man's life by who measures their lives by yours.

Edward Cole probably was a lot of people's yardstick. He was wealthy, powerful, and he ran hospitals.

"We run hospitals--not resorts!" E. Cole (Nicholson)

If Cole hadn't been so mercenary, he'd never have been stuck with another patient in his hospital room. At first, the very wealthy Cole doesn't care for the soft-spoken auto mechanic, but as time goes on the two develop a friendship--and Cole begins to both share food and care for Carter.

When Edward sees Carter's 'Bucket List,'(a list of items he wants to accomplish before he kicks the bucket) he realizes it's something the two of them can do--and says they should. That's when the two cancer patients break out of the hospital and go on a world tour. Together, they write out a new bucket list and work to make each other's dreams come true.

"Bucket List" is sentimental, predictable, and yet more than my words can encompass. The film's not just about dying, but friendship, and finding joy to spread to others--even at the worst times in a person's life.

In my opinion, the three best aspects of this film were Morgan Freeman's outstanding narration and Sean Hayes' well-done portrayal of Cole's ever-present assistant (Thomas). Another nod goes to actress Beverly Todd, who played Virginia Chambers. Even the young girls in the film were exclaiming how amazing she looked and acted.

Warnings:

Bring tissue

If 'laugh til you cry' is on your 'Bucket List,' you can check this item off

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The Bucket List tells the sensitive and well thought-out story of two older men who are diagnosed with cancer so severe that they have six months to live--or maybe a year if they're lucky. Look for stunning performances from both Morgan Freeman as Carter Chambers and Jack Nicholson as Edward Cole. Beverly Todd also acts her heart out as Beverly Chambers, Carter's wife.

The action begins when Carter Chambers, a working class black man, and Edward Cole, super-wealthy self-made rich white guy who actually owns the hospital they're in become roommates in the oncology ward of the hospital. At first Carter and Edward don't exactly hit it off but it isn't long before they forge a friendship. When they each learn that by coincidence they have six months to a year to live, they embark on a trip to accomplish certain lifelong dreams and personal goals before they die. The list of things to do is called The Bucket List because it's a list of things to do before they "kick the bucket."

Of course, because Edward Cole is wealthy many scenes in this movie become almost miraculously possible. They travel the world by private corporate jet; and they live more in just a few weeks than most people ever do in a lifetime.

Of course, life has its ways of surprising just about any of us; so still the plot could go just about anywhere. How will Beverly, Carter's wife, react to all this? Will she understand and remain patient while Carter lives out a few lifelong dreams or will she want her husband home NOW? Will Carter and Edward be able to keep their cool when they are stranded in Asia during a monstrous snowstorm and they are not allowed to fly? What happens if one of them gets very sick along the way? What about Edward's refusal to make up with his daughter who disowned him long ago--will he ever decide to approach her or will he remain obstinate in his refusal to even meet with her? The results may surprise you. No plot spoilers here, folks--you'll just have to watch the movie to find out!

As a cancer survivor who is finishing my own chemotherapy soon, I will add that some of the side-effects of the chemotherapy they receive are exaggerated. However, I think director Rob Reiner added these elements to the film to make it somewhat more dramatic.

Overall, The Bucket List is an excellent movie; and I couldn't have enjoyed it more. Jack Nicholson and Morgan Freeman turn in superlative performances that proves these guys can still act better than the vast majority of actors ever could. Beverly Todd does a great job as Carter's wife; and Sean Hayes also does well as Edward Cole's personal assistant Thomas. I highly recommend this film for fans of these terrific actors; and people comfortable with the subject matter will appreciate this motion picture as well.

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The Bucket List

A Universal DVD

This is a story that coveys the close relationship that develops between two utterly different men that must share the same hospital room after being both diagnosed with advanced terminal cancer. The first, Edward ColeJack Nicholsonis the CEO that runs the hospital and is a ruthless persona and the second is a mechanic, CarterMorgan Freeman-, who wanted in his youth to be a history teacher but life circumstances did not allow him to do so. They share the common adversities of the infirmity and they, ant the same time, share a long trip that will tie the relationship even further.

One day, Carter starts to write a "Bucket List" containing all the things that he would like to do before he dies and Cole finds it out. Afterward, they decide to write the "Bucket List" together and start going on marvelous trips around the world and sharing precious moments and becoming the best of friends. Two utterly different persons become the closest friends ever in the last months of their lives.

What really stroke me about this DVD was that it not only applies to two terminal cancer patients: What stroke me the most is its universality. If we think a little deeper, it could apply to two or more persons sharing similar adversitiesor joyfulness for that matterand relying on each other for comfort, understanding, and the sharing of knowledge and experiences.

The performances of the two principal actors are outstanding and make you laugh and cry at different times during the performance.

Highly recommended!!!

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Edward Cole (Nicholson) and Carter Chambers (Freeman) have terminal cancer. They are opposites, with Edward being a rich CEO and Carter being a car mechanic. They are sharing a room at the hospital, and share the same diagnosis: six months to a year. Carter begins making a "bucket list" things to do before he dies. Edward gets in on the list, and having the money funds their attempt to cross everything off that list. They see the Pyramids of Egypt, the Taj Mahal, and the Great Wall of China. The skydive and drive race cars. They share their stories and become good friends. Soon they realize returning home will help them more than traveling the world.

Nicholson and Freeman are always good, and "The Bucket List" is no exception. They give their usual standout performances. On the downside, this is a movie that sets out to make views shed a few tears. This gives the film a feeling of trying to be more important than it really is. If that could somehow be toned down, this would be a better movie. There are some good laughs though, and that is the films saving grace. As it is, it is a harmless diversion for just over two hours. I would probably recommend this one for DVD viewing.

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Dr. Seuss' How The Grinch Stole Christmas (Blu-ray + DVD) (2000)

I was hesitant to buy this because there are so many reviews that say the color transfer was bad, but it seemed to be the only option to own this movie, so I decided to risk it. Colors on our copy were brilliant and the sound quality was great and clear much, much better than the worn out video I grew up with. The Grinch was definitely very green. I assume that there must have been a problem with a batch of these DVDs that has since been fixed. I'm really happy with this purchase.

Many kids

Enjoy Christmas

They like it a lot

And this film

Is about the Grinch

Who did not

The film gives the background, and fills in some blanks

The Grinch as a child was subjected to pranks

He fancied a Who, with the name Martha May

He tried to impress her and to his dismay

They laughed at his efforts, his gift and his face

So he destroyed the classroom and fled from that place

Then,

He moved to Mount Crumpet

And made him a home

While the green hairy creature seethed under the dome

Until one cold day at the town Christmas party

When young Cindy Lou showed him how to be hearty

Then Mayor May-Who went and spoiled all the fun

By taunting the Grinch 'til he came all undone

He went up his mountain, and he started scheming

And when he was through he was smiling and beaming

He'd ruin their Christmas; he knew what to do

Revenge is the sweetest when it's overdue

If you've read the story you know how it ends

How the Grinch stole that Christmas from his former friends

So what happened next?

I won't give it away

This Christmas this movie will show every day

So if you're a Grinch you can run, but not hide

As you try to stifle the feeling inside

Just gather the kids for a clean yuletide treat

Merry Christmas to all!

(Now this poem's complete)

Amanda Richards, December 10, 2006

Buy Dr. Seuss' How The Grinch Stole Christmas (Blu-ray + DVD) (2000) Now

I have always been a fan of "How the Grinch Stole Christmas" and ordered it in blu ray. It is beautiful in that the colors are vibrant and clear. The sound is excellent. Yet none of the original charm is lost.

I also like the way it allows me a free digital download of the film.

Highly recommended.

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Its the classic tale of the hate-filled outcast who with time grows to be accepted into society. In this instance, the Grinch, a hideous abnormality that lives off his passion for yuletide misery, is eventually persuaded from obscurity to join the Whos in their picture-perfect village. Under the layers of leathery green skin, Jim Carrey is instantly recogniseable as he writhes and extends his facial features to the limit capturing the loveable rogue stature perfectly. Ron Howard's takes charge of the direction and provides an magical yet comprehendable depiction of the dedicated Whos as they prepare for the festivities. Its not laugh a minute entertainment but it is inventively produced and provides a credible reproduction of Dr Seuss classic childrens stories. Hilarious in parts and cringeworthy in others, this is family fun encroaching upon the the best in DVD entertainment.

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Pretty much all of us know the classic Dr. Seuss story about the Grinch, a somewhat green meanie, who wants to stop Christmas from coming to his local neighbor's, the Who's. Ron Howard's film version starring rubber faceman Jim Carrey simply takes that story and adds a bit more to it (to fill the extra hour and twenty minutes of running time as opposed to the original cartoon version's 25 minutes). I for one love the backstory that was created. I always wondered why did the Grinch hate the Who's so much. What made him hate Christmas? These questions are answered quite well with some well imagined backstory of the Grinch as a child who actually grew up among the Who's, only to be ridiculed and made fun of for his strange appearence and unique behavior. It seems that the Green one became interested in a young girl that another boy liked (and who ultimately would later became the Mayor of Whoville). The film evens goes on to have Cindy Lou Who (who's given a bigger part in the film) question her family's values of what Christmas is really about...presents?...buying stuff?..is that's all it's about?..she wonders. It is she who realizes the good in the Grinch and crusades for him to be head chairmeister at one of the Who celebrations. I'm not sure what other people were really expecting, but this is pretty much what I thought the movie should and would be like. The sets and costumes are amazing..very Seussian! And Jim Carrey?...Well, I personally believe that Jim is great in everything he does and doesn't recieve enough credibilty by critics and certain moviegoers mainly because of where he came from (i.e. comedy and Ace Ventura: Pet Detective, the film that made him a star). I think critics that gave the film a bad review missed the whole point and probably need to watch fewer films 'cause they're obviously burntout! All I can say is the fans have spoken, which is why, despite lukewarm reviews, the film went on to become a huge hit and success back in November of 2000! I will still of course watch the cartoon version, but this version will also find plenty of time in my DVD player as well!

My only gripe with the DVD is that certain special features are too short or missing. The "Spotlight on Location" is barely over 7 minutes long. There are about 5 such featurettes included on the DVD that run between 4 to 10 minutes long. With such an interesting story like "The Grinch", a 60 minute or longer documentary should've been made to really take us inside not just the filming process, but the world of Seuss and Whoville as well. The other disappointment is there is no audio commentary included. I had almost expected one from director Ron Howard, who had always done one for previous Universal Pictures Collector's Edition DVDs (Apollo 13 & EDtv). I really wanted to know more about just how stressful it was on Jim Carrey to wear the Grinch costume. From interviews I've seen by Howard on Late Nite talk shows, Carrey became so tortured that he ripped the mask off his face and walked off the set. He was in the makeup chair everyday for 92 days straight. They had to get a Navy Seal team leader to instruct Carrey on ways of dealing with torture just so he could finish the shoot (no joke). This kind of story deserves much more insight, which is why I'm so disappointed that no commentary is available on the disc. So whenever people say Jim Carrey wasn't good as The Grinch, I scoff and say, "he went through torture to make that movie!" Some people are just hard to please. But don't let it ruin your Holiday Spirit! Add "The Grinch" to your collection today. And catch the special sneak preview trailer of E.T. The Extraterrestrial on this DVD (just before the movie begins), coming only to theaters in March 2002, with added footage, new special effects shots and more!

The Grinch It's not easy being green.

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Vivre sa Vie (The Criterion Collection) (1962)

My Life to Live is a highly stylized and extraordinarily unformulaic adaptation of a simple premise: a young woman, seeking the freedom and excitement of, what Federico Fellini calls La Dolce Vita, leaves her family to pursue an acting career, only to turn to a life of prostitution. From the opening sequence showing a detached, seemingly clinical exhibition of Anna Karina's face and profile, followed by an uneasy dialogue between Nana (Karina) and Paul (Andre-S. Labarthe) filmed at an angle showing the backs of their heads, we are introduced to the singular, iconoclastic vision that is Jean-Luc Godard. Stripped of expression and sentimentality, Godard, nevertheless, succeeds in creating a film that is visually stunning and full of pathos. We are drawn to Anna, not because of her seductive persona or compassionate actions, but because she is humanity, lost and desperate, incapable of comprehending her misery nor articulating her pain (Note the parallel character of Antonio Ricci in Vittorio de Sica's The Bicycle Thief.

Godard's revolutionary camerawork transcends nouvelle vague novelty: it serves as a cinematic extension of Nana's soul. The awkward angles and long panning shots during Nana and Paul's conversations reveals the underlying tension and emotional distance between them. Deeply affected (understandably) by Maria Falconetti's performance in Carl Theodor Dreyer's The Passion of Joan of Arc, Nana's conversation proceeds in silent film intertitles reflecting her own suffering and innate desire to achieve greatness and escape the banality of her sordid life. The seamless camerawork following Nana as she dances uninhibitedly around the billiard room feels intoxicating, almost mesmerizing a fleeting glimpse of the few brief moments of pure joy she has ever known. My Life to Live is a truly remarkable film: a synthesis of artistic vision and moral tale, suffused with haunting melody, the ballad of a contemporary tragedy.

I give this DVD FOUR stars only because the transfer could have been better. With older films, especially foreign ones, the time and cost of providing a great transfer is too much unfortunately.

This an amazing and powerful film that should be owned if you are a fan of Godard or of the French New Wave. For those who have not seen it and are looking for advice, I say: be cautious. This film is not for everyone, especially if you gravitate toward mainstream films. Don't expect Julia Roberts and Richard Gere.

The French New Wave era brought out a new kind of filmmaking. The films abandoned and sometimes appropriated traditional methods of narrative and formal esthetics, and used this technique as a critique of sorts. Vivre sa vie is no exception. Jean-Luc Godard made a film that requires something more from the viewer than just their attention span. The fairly simple plot of Vivre sa vie is expanded and turned around by various formal aspects of filmmaking made famous by French New Wave directors. Jump cuts, long takes, deep focus and slow pans are cornerstones of The French New Wave, but my interest lays with Vivre sa vie functions as a text, rather than a traditional narrative. By text, I mean that the film has a greater social theme and works more as an essay rather than a film¡Xsomething needed to be read.

Simply put, Vivre sa vie tells a story of a woman that leaves her husband and son, wants to get into the movies, ends up becoming a prostitute, falls in love, then wants to get out of the business. But there is so much more to the film and what is needed is your participation. Participation here, involves much more than a warm body and open eyes. Godard is using the narrative and formal techniques to tell something more about the social predicament of prostitutes and perhaps women in general. He accomplishes this by using very untraditional film techniques that enhances this film to a textual level.

When speaking of text, the notion of ¡§reading¡¨ is implied. The viewer needs to ¡§read¡¨ the scene, rather than just watch. Reading requires the viewer to make connections and draw conclusions from the juxtaposition of the words and images, and not just be told or shown what is really ¡§meaningful.¡¨

Watch the 12th chapter (The young man again¡Xthe oval portrait¡XRaoul sells Nana) when the young man reads the Poe story to Nana. I think that really captures the essence of the film.

Again, just because people think that this film is great, powerful and groundbreaking, doesn't mean that you will enjoy it. Be realistic.

Buy Vivre sa Vie (The Criterion Collection) (1962) Now

"My Life to Live ("Vivre Sa Vie)," released in 1962, was director Jean-Luc Godard's fourth feature film and one of the finest, most exhilarating examples of the French New Wave. The great cultural critic Susan Sontag considered the film to be "one of the most extraordinary, beautiful, and original works of art that I know of." The film is now forty years old, and since its original release it has, unfortunately, been somewhat forgotten, not nearly referred to as much as Godard's "Breathless" and "Weekend." In many ways, however, "My Life to Live" is Godard's most accomplished work. It encapsulates all of the main cinematic innovations of the New Wave movement; in its visual style, it is refreshingly innovative (even decades later) and often awfully beautiful; and it redefines cinematic history at the same time that it pays homage to that history.

"My Life to Live" is part crime drama, part B-movie, but, most of all, the story of a young Parisian woman's descent into prostitution and existential trauma. It offers little or no overt explanation for events or for the choices and actions made by its characters. It proceeds largely through dialogue. And it features the kinds of jump cuts and self-referential awareness common to this style of cinema (not to mention the references to other sources of culture, including a shot of a movie theater playing Francois Truffaut's "Jules and Jim," another exponent of the French New Wave). Viewers raised on Hollywood movies who have not had much exposure to this style of filmmaking will find "My Life to Live" difficult and, to an extent, somewhat unsatisfying, only because it does not conform to American narrative or cinematic conventions. It is both formally groundbreaking in its visual style and unique in its narrative structure.

That narrative structure is based upon twelve tableaux, each with its own chapter reference. If Godard had admitted that this was to make the film more understandable, it was also to give it a pseudo-documentary feel. In that sense, "My Life to Live" blends reality and fiction, film drama and documentary, into a cohesive experience. The camera embodies Godard's approach. Its movement means several things at one time: a visual language that defied the standards of traditional film photography (watch how Godard films conversatins in "My Life to Live"); a sense of documentary, as if Godard was portraying a non-fictional account of a woman's descent into prostitution in post-war Paris; and a technique in which it seems that the camera is always aware of what it is doing.

And what is the camera doing? Most of all, it is obsessed with its protagonist, Nana, played by the chic, mesmerizing Anna Karina, who was Godard's wife at the time. "My Life to Live" is as much a study of her as it is of its fictional subject. Godard's camera lingers on her face, producing some of the most staggeringly beautiful moments in cinematic history and also allowing Karina's outward image to tell exactly what she is experiencing internally. In one of the film's most celebrated passages, Karina's face, eyes wide open and full of tears, fills up the entire screen as she watches Carl Dreyer's equally groundbreaking silent film "The Passion of Joan of Arc." Karina's close-up replaces Maria Falconetti's and becomes just as enigmatic.

"My Life to Live" is a film of multiple artistic merits, one of Godard's finest achievements, and an emblem of the French New Wave. Serious film buffs should not be without it.

Now, a few words about the DVD. Fox Lorber is notorious for producing poor digitial transfers of their films, and "My Life to Live" is no exception. The transfer is actually better than most of their products and is quite passable, with some noticeable image spoilation here and there and with a relatively mediocre audio track. Having said that, most viewers should not have too much of an issue with this disc's quality. The aspect ratio is 1.33:1, the same as a standard television screen, so this looks like a pan and scan version. I do not know if this is the same aspect ratio of the original theatrical print, but if you are expecting widescreen, you won't get it here (although this should not preclude viewers from purchasing this fantastic film).

(And, last but not least, a somewhat related jibe: if you are coming to Godard because you are a Quentin Tarantino fan, you will find that many of the ideas and techniques Tarantino employed in "Pulp Fiction" were lifted right out of this film, in addition to others by Godard. Seeing both, you will realize that Tarantino really isn't that original after all and that Godard was far superior.)

Read Best Reviews of Vivre sa Vie (The Criterion Collection) (1962) Here

This is Godard's most austere film. Its also one of his best. Anna Karina is in every shot and you never get tired of looking into those sad, beautiful, hopeful eyes. The most heartwrenching part of the story is that no matter how far she descends into the grim world of prostitution she remains somehow innocent and to be truthful the world of prostitution actually doesn't look all that grim(her clients are polite, they always pay, there are no drugs, or beatings). She survives not by becoming detached but by remaining inquisitive and continuing to find things that interest her. She loves the film Passion of Joan of Arc, and she loves the Poe story her boyfriend reads, and she enjoys the company of anyone with fresh ideas or a different perspective. She might be a prostitute but she never stops being a human being first and she never stops seeing men as individuals and so she never stops liking them, even when they might see her and treat her merely as a type. Though she can sense the tragedy in someone elses life like Joan of Arcs she does not view herself as being tragic. She might be a prostitute but she does not seem ashamed of this, but rather just sees it as a job. You could almost say she is amused by her own situation. Its her intense awareness of life and her own freedom to live as she chooses and think and feel what she wants to that make her such a fascinating creature. In fact its the moment after she has her first client that she seems to really become fully aware of herself as a truly free creature. Karina's sense of freedom contrasts in an interesting way with her occupation and the films structure which sets a decidedly deterministic, even fatalistic, tone and pace. I do agree that the ending seems too easy and abrupt -many of Godards films end with a kind of suddeness that makes them feel somehow incomplete. The French title of Breathless is Out of Breath and this seems to be Godards ruling principle -film until you run out of ideas(out of breath) and then kill off your protaganist(this happens in Breathless, My Life To Live, and Pierrot le Fou). But whether you like the ending or not the rest of the film is so perfect that the film and especialy Karina's face, her attitudes and expressions, linger in your thoughts long after the film is over. Usually Jean-Luc Godard's style is the star of a Jean-Luc Godard but this is Anna Karina's movie. Cinematographer Coutard as usual does a tremendous job. I think my favorite Anna Karina film is Jacque Rivette's The Nun (La Religieuse)but this a close second. She is way more interesting than any of the other beauties of the era, and one suspects that she is as creative and original as Godard himself.

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(Lend yourself to others and give yourself to yourself---Montaigne): ominous advice for the heroine of one of Godard's most easily digestable and congenial films. A seamless and cohesive twelve chapter documentary, _My Life to Live_, starring Godard's then wife Anna Karina, succeeds at striking the perfect balance between the filmmaker's more esoteric artistic tendencies and the ability to relate to a more mainstream audience. Loosely, the plot involves Nana, a 22-year old woman who leaves her husband and takes up casual prostitution. No doubt it is also an allusion to Emile Zola's novel about a female courtesan of the same name. Brilliant camera work is especially evident in the opening scene where we are introduced to Nana and her husband not by their faces, but by an affronting view of the backs of their heads. This visual device is used throughout and is contrasted with some mesmerizing shots of Joan-of-Arc-coiffed Karina, staring directly at the camera. If you thought Godard too intellectual or abrupt, give this film a try.

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Safety Last! (Criterion Collection) (1923)

Although he is generally considered the equal of Charlie Chaplin and Buster Keaton, Harold Lloyd's films are much less widely available--with the exception of SAFETY LAST, which turns up with great regularity at film festivals and on cable television. Like most of his films, SAFETY LAST finds Lloyd struggling to make good in order to win the girl of his dreams (in this case his actual wife, actress Mildred Davis)--and when the big boss offers a thousand dollars for a promotional idea that will draw hundreds to the store, Lloyd suggests a human fly act... but at the last minute circumstances go awry, leaving Lloyd to make the climb himself.

While the first half of the film abounds in brilliant, hilarious sight gags, it is Lloyd's climb up the skyscraper that is best remembered: attacked by pigeons, entangled in a net, running afoul of a mouse, and ultimately hanging from the hands of a clock face hundreds of feet above a cheering crowd. Filmed without stunt-doubles or such devices as rear-screen projection, the squirm effect of the sequence is still tremendous--and the film is all the funnier for it. Always wearing his signature straw hat and round-frame glasses, Lloyd's eager optimism personified the go-getter mentality of the 1920s, when the sky seemed the limit and progress hadn't yet gone on too long. If you are a fan of silent film but have not yet encountered Harold Lloyd, SAFETY LAST is the perfect introduction--and an essential for your collection.

Okay, when we think of Harold Lloyd we think of the famous image of him hanging onto the hands of a clock outside a building, right? Well, this is where the shot was taken from. "Safety Last" was one of the few Lloyd comedies I actually saw when I was younger. I mostly saw his short 2 and 3 reelers growing up. But, I happened to see "Safety Last" on tv yesterday. It's been about 15 years since I last saw, and I was still amazed.

"Safety Last" tells the story of a couple in love (Lloyd and Mildred Davis). Lloyd is going to become a big businessman so he can marry the girl of his dreams. As soon as he gets enough money he will send out for her to come. At best Lloyd gets a job as a salesman making $15 a week. In 1923 I'm guessing that was pretty good, but, even by those standards not enough to get married on. So, naturally like any man would do, he lies to his girlfriend pretending that he's doing much better than he actually is. He goes without eating so he can buy her a chain. He writes to her everyday of the week dreaming of the day they can be together.

Feeling she has waited long enough for Lloyd, Davis decides it's time for her to go to him. Thus making things worst for him due to the fact she visits him at work! But, as fate would have it the department store where he is working is looking for a scheme to draw costumers. And Lloyd gets a great idea that will earn him $1,000!

Okay, I feel I have to commet on the building climbing piece. It is one of the most daring scenes I have scene in comedy history. Now, I know that no harm came to Lloyd making shooting that scene. I know he survived the making of that scene and went on to make other movies, but, I became so caught in the moment that my heart was in my throat. I was sitting on the edge of my seat. Everytime it seemed as if Lloyd would fall off the buliding I jumped lol. I kept thinking to myself, "Why did he do this?!" "How did he do this?!" "How did they shoot this scene?!!" You forget that it's only a movie. because most of us know that Lloyd did his own stunts. It really is something everyone has to see.

Would I say this is his "best" movie? No, to be honest I don't think so. Do I think it's one of his funniest? Sure. It's right up there. I also think it's one of the best comedies not only made in it's day, but of all-time. So go out and buy it.

Bottom-line: Probably Lloyd's most famous movie due to the "thrill" scene at the end. One of the best comedies of all time.

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Harold Lloyd is without question the funniest and most daring filmmaker of his day, if not the entire 20th century. SAFETY LAST is a classic example of Lloyd's films: an average, All-American boy, full of optimism and hope, finds himself in a simple mixup that quickly multiplies with hilarious complexity. When SAFETY LAST first debuted in theaters in 1923, audiences literally fainted while watching the stunts Harold performed, and they are no less powerful today, for they were all filmed without the aid of special effects. He made more films than Charlie Chaplin and Buster Keaton combined, but has been all but forgotten by late 20th century film lovers. SAFETY LAST is only one of the multitudes of fantastic movies this genius made, and if you're not impressed when you see it, remember this: due to a stunt accident early in his career, Harold Lloyd lost his thumb and index finger on his right hand. All the stunts you see in SAFETY LAST including the infamous skyscraper climb were done with the use of only ONE complete hand! If you like SAFETY LAST (and I'm sure you will), I also highly recommend GIRL SHY, SPEEDY and HOT WATER, just to name a few.

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The LA Conservancy has a great pdf document on how SAFETY LAST was filmed. It was very clever how perspective tricks were used to make it look like Lloyd was actually dangling over a downtown LA street (you knew he wasn't really...). Google "laconservancy.org/tours/HaroldLloyd" and you'll be rewarded with photos of the locations as they look today, plus fascinating information on the filming of this comedy classic. Pages 7 and 8 show specifically how the clock scene was shot. Makes a terrific addition to this film.

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Anyone who knows anything about cinematic history knows that the payoff in SAFETY LAST is Harold Lloyd's harrowing and comedic exploits hanging from the hands of a clock on the side of a building high above the city streets. As many times as I had seen excerpts from that sequence in various places, I had never seen the movie in its entirety until now.

Harold Lloyd was a comic genius. The story is simple enough--boy goes to the big city; boy lies to girl about how well he is doing; girl comes to the city to surprise boy--but the movie is so rich in site gags that it is truly enjoyable throughout. Because this is a silent film, the comedy is physical and universal and appealing even to the jaded sensibilities of the present day.

Lloyd plays "The Boy," a fresh-faced country lad who bids "The Girl" (Mildred Davis) farewell in order to pursue his dreams of riches in the city. When he arrives, however, he lands a job as a lowly sales clerk, and it is a daily struggle for him to avoid being fired. Bill Strother plays "The Pal," The Boy's roommate and compatriot in misery. The Pal, as a construction worker, has a talent for scaling tall buildings. When The Boy's boss offers $1000 to anyone who can draw shoppers to the department store, The Boy proposes a human fly stunt (by The Pal) to bring in the crowds. Unfortunately, The Boy unintentionally draws the ire of "The Law" (Noah Young) onto The Pal. As the time for the stunt draws near, The Boy needs to start climbing, at least until The Pal is able to shake The Law.

Even after seeing excerpts from this scene hundreds of times, the clock-hanging sequence in SAFETY LAST is utterly breathtaking, more so when you consider that (evidently) no special effects or trick photography was used in the filming. The impact of this scene, therefore, is so much more powerful than any analogous scene in a modern film could ever be.

SAFETY LAST is a classic and important film in the history of cinema, but one that is surprisingly accessible today, considering its age. It should certainly be part of any serious film buff's video library.

Jeremy W. Forstadt

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This is Cinerama (1952)

My first introduction to Cinerama was in NYC in 1955, I was 11 years old. A family trip to the Big Apple. Sitting in the 3rd row from the screen, surrounded by wine colored curtains, waiting for the show to start. I noticed 3 projection booths on the orchestra floor. Not knowing what Cinerama was, I thought it might be a new type of three dimension process. The lights went down, a b&w mono sound prologue starts. After about 10 minutes into the prologue, I started to get bored. Nothing different about this movie. Then the narrator said "Ladies and Gentlemen, enjoy your Cinerama Holiday". The horizontal masking started to rise, the wine colored curtains started to open wider and kept going and going. We were flying through the sky, surrounded in picture and sound. WOW, WE DON'T HAVE THIS BACK HOME"

Since that Saturday night at the Stanley Warner Times Square theater, I have been a big time fan of Cinerama. Making sure I saw everything and any thing that was released in Cinerama. In 1996, my wife and I drove for 24 hours (1400 miles) to see a come back of Cinerama in Dayton, Ohio. I flew to Seattle for the "Reel Cinerama Festival". I have been to Pacific's Cinerama Theater (fondly refered to as the Cinerama Dome)to see Cinerama productions.

When "How The West Was Won" was released in "SmileBox" on Blu-Ray, I was over joyed. Now "This Is Cinerama", the first Cinerama production which changed forever the way we look at movies will be in my Cinerama Collection. I am a big Cinerama memorabella collector. I have one entire wall in my home theater dedicated to Cinerama. I can hardly wait to see it on my 92" diaganal screen. The Blu-Ray 1080p picture will show the great depth of field high quality photography Cinerama was famous for.

"This Is Cinerama" has no stars, no plot, but was the highest grossing box office hit of 1952, and it was playing in only one theater. "This Is Cinerama" gives you a breif history of motion pictures, takes you across our beautiful country and around the world. All in the "you are there" magic of the Cinerama Process. Cinerama definately "Puts You In The Picture" Thanks to the "Smile Box" process, it will look like you are watching on a curved screen, which adds to the enjoyment of the film so much.

I recommend "This Is Cinerama" to anyone who is a Cinerama fan, movie buff or just wants to own a piece of American Cinema history.

Yes it is not the same as seeing Cinerama in a Cinerama movie theater, but it is a great experience for any Cinerama fan, and there are thousands of us. No, tens of thousands of Cinerama fans around the world today.

You can have the full Cinerama experience this coming month, Sept 28 Oct 04, 2012. The Pacific Cinerama Theater in Hollywood, Ca will be having a week long festival in celebration of the 60th anniversary of the first public showing of Cinerama on Sept. 30, 1952. Twelve Cinerama Productions will be shown. Plus a new Cinerama film just completed called "In The Picture" This marks the first time that actual Cinerama cameras have been used in over 50 years. Five productions will be shown in the original 3 strip film process, Three digital presentations from the original 3 strip films, two digital productions from the 65mm prints and one presented in 70mm Ultra Panavision. All presented on the full 129 degree curved Cinerama screen. I beleive the screen dimensions are 89' wide and 32' high. I might be a little off on the screen size.

The BluRay release of "This Is Cinerama" is presented in the amazing SmileBox format, just like "How The West Was Won." The legions of Cinerama fans have been waiting for this release for what seems like a lifetime, so I rejoice that that time is near. When I was in high school, I had the privilege of working in a Cinerama theatre in Wichita, Kansas and I remember all of these wonderful films. The Cinerama process wasn't perfect visually, since one could see the lines where the three pictures joined on that huge curved screen, but once you became involved in what was going on, the lines seemed to disappear. And what spectacular sound! A full seven channels of directional stereophonic sound, coming at you from every direction and being reproduced on a separate audio magnetic playback machine. This was indeed thrilling cinema and was many years ahead of it time both artistically and technically.

There is a You-Tube preview of this release which was put together by David Strohmier and a host of other Cinerama "geeks" so if you haven't seen this yet, check it out. You will be amazed!

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I was one of the last projectionest to run this monster called Cinerama. It was a thrill. Of course this also shows my age. You will not be disappointed by this film and the vast places that this film will take you on your two hour travel log. The smile box format will give you the impression of what a curved screen feels like. If you would like to see a preview of the film go to You Tube This is Cinerama. Enjoy

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Wow, this Blu-ray was a gift from my son. The SMILEBOX sure works great for me. 5 stars for that

I remember back around 1955 seeing this film at the Tennessee Theater in downtown Nashville, Tennessee.

It was just amazing. The minor joint lines and optical distortion on some of the A and C frames are normal to me as they were on the original showing at the theater. I actually expected them. However, it was no big deal. In most of the shots the joint lines did not even show up.

Excellent editing and restoration. 5 stars for that too. I think it is great that Amazon has sold out of the first offering of this disc.

I believe that if you actually saw the film in a theater, you can understand and appreciate the Smilebox presentation. As with the Blu-ray, I could see the stage and above the top of the screen. Smilebox is so realistic to represent the actual theater event.

I would always try to sit in row 5 or 6 and as close to the center as possible. It was overwhelming. HOW THE WEST WAS WON was great in the

theater. I would love to see THE WONDERFUL WORLD OF THE BROTHERS GRIM in the SMILEBOX format too. I have it on laserdisc, but it is rather poor picture quality when projected on my 92" screen.

The 19 minute restoration part of this Blu-ray disc is so interesting to me. I was amazed at the challenges in restoring the film on a limited budget. Makes me feel a bit better about the $39.95 price tag. I hope all involved were paid fairly for their excellent efforts. Again, 5 stars for the restoration.

Now then, I would appreciate some comments on my next observation. This is the reason I gave it a 3 star rating. If that caught your attention, maybe you can help me. I had just finished watching the new release(UK) of Lawrence of Arabia, 50th anniversary Edition on Blu-ray and and then I watched THIS IS CINERAMA. Must have been a mistake on my part. I normally sit 10 feet from my 92" screen, then, as suggested by an earlier reviewer, I put a chair about 6 feet from the screen to get the full CINERAMA impact as I remembered it back in the 1950s. Was I ever dissappointed. The picture was soft and almost looked a bit out of focus. Some of the scenes were better, but overall, the picture resolution was at best like some older DVD releases. The color was always great. I am sorry to be critical on this , but maybe I AM expecting too much. Perhaps I am doing something wrong. Positive suggestions are welcome.

EDIT-EDIT-EDIT. One month later I have discovered an excellent solution. I just happened to take the disc downstairs and watch it on our 37" LCD TV. Made all the difference in the world. Much sharper picture. Much better. Problem solved!!!

Thanks

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The package includes two discs. First is the Blu-ray of the movie and all the extras. The second disc is a two-sided DVD. One side is the movie (also in Smilebox format) and the other side contains all the extras. Also included is a booklet copy of the opening night program with a lot of information about the Cinerama process, Lowell Thomas and several of the men involved in creating the film, production photos of the filming, and more.

The color and sharpness quality of the film is much higher than I ever expected. In the "making of" extra David Strohmaier and Greg Kimble explain in pretty good detail how they were able to pull natural color out of extremely faded scenes, remove the scratches, and reassemble the multitude of scenes into a presentation as close to the original presentation as possible.

"Smilebox" love it or hate it. Frankly, I cannot think of any other way to present Cinerama films and remove some of the tremendous distortion inherent in showing the 3-panel film on a flat screen. I had seen the Blu-Ray "How the West Was Won" and was used to the Smilebox format, but newcomers might not like it at first and see it as a gimmick of some sort.

The stereo and fidelity of the sound is also startling. The guys at Chace Audio handled that part of the restoration and the result is worthy of a new soundtrack CD album.

This is a film you should watch on as large a screen as possible, and do sit closer to the screen than usual. The Smilebox seems to work best when you do. After you watch it all the way through, watch it again later with the audio commentary turned on. Strohmaier and others provide 2 hours of very informative facts and even trivia of behind the scenes stories on each scene.

The only reason I don't give it a full five stars is the entertainment value of the content. It's simply a man presenting an illustrated lecture on the wonders of a new film process (as truly amazing a process as it is, especially at the time). Today's young audience may find it incredibly boring with no plot or message and be puzzled by its fame.

But as someone who saw several Cinerama films in theaters back in the day, I think this is as close to the experience as possible. I say give us more!

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Veer-Zaara (2004)

Curious, I rushed into a Bollywood DVD rental shop and asked the clerk to recommend a few. She immediately handed me this one. I can see why.

This movie introduces us to Veer, a man imprisoned unjustly in prison for twenty-two years, and Somayya, his young, beautiful lawyer trying to get him out. Veer tells Somayya his story of why he's there. It's long, yet beautiful, touching, poignant, and emotional.

Throughout the film, marvelous song-and-dance numbers are interspersed (My favorite song"Lado"), making the viewer want to "get theeself to Indian dance lessons."

Lastly, the movie leaves a few lessons on the viewer's mind. The first, what is a border, but a line drawn on a map? The second, what is life without love?

Enjoy!!!

This movie is one of my favorite love stories. Great cast and great acting. Not to mention a great story that goes where you least expect it too. I am so glad that Hollywood didn't touch this one, they would have ruined it. Bollywood sure knows how to do it right.

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I sat down to watch this film with rather low expectations. I mean, sure, it was backed up by heavy star power, like the unfailing Shahrukh Khan, and the excellent Amitabh Bachan, but I didn't expect the film itself to be good. However, this was a beautiful masterpiece, and I must say Yash Chopra has pulled off another splendid film! My only two complaints were that the film tended to drag at some parts, and there was one song (but only one) that bored me a little. Overall, it is a nice film, and should be watched if you have the patience and time. The plot was good, and the romance was not overdone (like in many Hindi films). The main theme song is also rather catchy, and you'll find yourself humming it after you've watched the movie. There is no violence in this film, and it's good for the whole family (I mean that)!

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"When the right woman comes into a man's life, that's when he becomes complete."

Unfolding slowly with the bright and vibrant colors of an Indian quilt, this rich and moving romantic epic is the more hopeful side of "The English Patient." Whereas that film was haunted by love, Veer Zaara revels in and embraces it. The notion that destiny can sometimes overcome circumstance because, in the end, love really is all, has rarely been so wonderfully presented.

It begins in shadow, however, as a young beautiful Pakistani named Saamiya Siddique (Rani Mukherji) comes to aid a man known only as 786 who has been imprisoned for the past 22 years. Saamiya knows his name was once Veer Pratap Singh (Shahrukh Khan) and when she uses it, the floodgates of memory open and ever so slowly the story of love which brought him there is revealed. It is her belief that once she hears it she can prove his innocence and free him, despite the handicap of gender presented in her country.

Veer is an Indian rescue pilot and Zaara (Preity Zinta) is a young Pakistani girl trying to bring her Bebe's ashes back home to India before she must return and marry Raza. It is an arranged marriage benefitting both their powerful and respected families but one that is draining Zaara's sprit. There is both humor and romance against the colorful backdrop of the two countries, which despite religious differences, director Chopra shows are closely tied together.

His Indian Uncle and Aunt, who have raised him, embrace Zaara as their own, and only when she must return does Veer learn she is bethrothed to another. He only knows he loves her and wants to be the one to marry her, but nothing of her feelings. It is a story of two hearts crossing borders, their love a river deep and flowing. When her sister Shabbo comes to Veer and lets him know how much Zaara loves him, he comes to the shrine to see her and sets in motion the tragic events which will lead the viewer back to the beginning of the film.

Khan and Zinta are terrific here but it is Rani's marvelous turn as a Pakistani girl going against tradition, very much like the love story of Veer and Zaara, which is the glue holding the film together. Like most Indian films, it is interspersed with the occasional song which propel the story forward. Some are quite beautiful and once used to their interjection as part of the narrative, are very enjoyable. For 22 years Veer has protected his love from dishonor but, once in court, Saamiya discovers something which will change all their lives forever.

Magnificently romantic and hopeful, the viewer is rewarded with an old-fashioned love story both visually and internally beautiful. Rare and rewarding, its brilliance tied to its simplicity, this is a masterpiece of the old variety. Its story of love tied to modern Pakistan and India is somehow timeless and not soon forgotten. Those wanting romance in their films will want to come to the valley filled with the season of love.

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Before viewing this movie, I had never been privy to a "Bollywood" film. I'm your typical "whiteboy" so this genre of film was quite new to me. The first things to take into account (for "whiteboys" like myself) are the length of the movie, bollywood films tend to run longer than american films (no worries though, there's an "intermission"), the other attribute is that this film as with most bollywood films I've learned, incorporate song into the film. Hence, they have more of a "show" feeling to them. It's kind of corny at times, because the actors don't actually do the singing. When the scene suddenly goes into song and the vocal voice is significantly different than the actor/actress's voice it's quite noticable, but that's how things are done and you just have to get used to it.

Overall, Veer Zaara was actually a quite wonderful film, the story is solid and heartfelt, the cinematography is wonderfully done, the acting is superb, and the songs are quite beautiful and catchy (I now have the soundtrack, and listen to it often). This for me, was a wonderful introduction into the genre, and I will seek out more similar movies to view, due to this particular film.

The hardest thing for me was getting past the cheese of the actors during the musical numbers. This is the american in me speaking when I say that I'd probably prefer the songs in the background during scenes, rather than the actors lip-synching to them, but I can definitely get used to that.

I guess in closing, if you are a die-hard fan of Bollywood, or a novice like me, you will enjoy this film. it's a great story, with wonderful actors, spectacular sets/locations, and the music sets the mood perfectly for each scene. I own it now, and that should at least be motive enough to see it when you have the chance.