Firestorm: Last Stand at Yellowstone ( Fire storm: Last Stand at Yellow stone (Wildfires) )

Almost very educational Yellowstone Firefighters, their lives and dangers.

I must admit that I bought it because of Scott Foley from [The Unit] but the movie was well worth it.

The dangers are always real just never brought to our attention of all the dangers and risks that these men and women face when the blaze starts to take out millions of acre's of trees and park-lands.

I sure hope that the far shots of the blazes were not real the up-close shots were too real. It reminds me that we must remember these people in our prayers. And hope that the government agencies are not as stupid and money-grubbing as they sound. [Probably a forlorn hope.]

This movie is Definitely recommended for the more mature audience and not for some twitchy kid that thinks starting a fire is a lark.

This is an excellent story. Richard Burgi and Scott Foley do a great job in telling of the forest fire fighters and their families. I enjoyed the extras of how Yellowstone was formed as well.

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I loved this movie. It kept you on the end of your sit. Full of action. Real good ending. Great!!

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made for tv movie. not very much of a story line but it is just ok as far as production. once you have seen it you dont watch it again.

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Its about four young people on motorcyclists who get caught in one mans hatred for a forest ranger. It will keep your interest going as to how they will get out as the fire starts to surround them leving very little to no room to move.

Martyrs

Wow. No, I mean WOW.

First things first: this is positively THE most graphic, disturbing movie I've ever seen in my life. The way I felt after seeing this film was the way you'd feel after waking up from a particularly vivid nightmare. It felt like, "Whoa, did I just see that?" The monster in this film is not some deformed creature in the basement, or a supernatural hellish thing coming out after dark, or even a prowling psychopath with a taste for human flesh. The monster is very human, and very normal, and it's in a place you're least likely to find, and its motives are nothing like what you thought.

Some people compare this to Hostel. Let me tell you... Hostel doesn't hold a candle to this. Hostel is boring, trashy torture porn. This is a masterpiece that looks deep into the human psyche, and reveals a picture that's both horrifying and intriguing. The first part is a bit predictable, but the second part... Boy oh boy. You think you know where it's going, and then it hits you over the head, makes you wish for a different turn of events, makes you want to look away over and over again, and yet you can't...

This is a masterpiece. A gruesome and mind-bending experience, to be sure, but an unforgettable one. Watch it. If you dare.

I freely admit I had dangerously high expectations going into this film, having read SO many positive reviews (and some rabidly negative ones as well -as this is one of those love-it-or-loathe-it experiences), but I'm happy to say that, for me, 'Martyrs' lived up to every bit of the hype, and then some.

The problem is that, for most people, they are simply NOT going to be anticipating what this film actually IS, as opposed to what they've been led to BELIEVE it is. Namely, though it contains many ASPECTS typical of the genre, 'Martyrs' is NOT really a "horror film" in the usual sense.

Don't get me wrong, though -the film certainly IS horrifying at times, on a number of different levels. And it has a kind of nightmare poetry which continues to haunt me.

'Martyrs' also manages to convey an overwhelming sense of cumulative dread and a hellishly pervasive sense of cold, heartless, systematically calculating evil. But it actually has a lot more in common with Gaspar Noe's uncompromising 'Irreversible' and the dark lyricism of Franju's 'Eyes Without A Face' than it does with films like 'Saw' or 'Hostel'.

For, while it does have some extremely disturbing violence and gore, it's somewhat less extreme in that respect than either 'High Tension' or 'Inside' -two other notable examples of the new wave of French horror cinema.

But 'Martyrs' affected me far more than any of the above-named films (excepting 'Irreversible' and 'Eyes...' ), because of the IDEAS being dealt with and because of Pascal Laugier's remarkably artful handling of his material, aided tremendously by the harrowing, raw-nerved excellence of the acting, as well as the superb cinematography, editing, music, and make-up effects.

Indeed, 'Martyrs' is an "art film" in many ways. In fact, at a couple points it actually elicited tears from me -not my typical response to most horror films -as well as a few genuinely appalled exclamations of "Oh my God... Oh my God...", such was the level of my empathy and identification with the main characters and their ordeal.

In fact, it was this aspect of the film which enabled me to get past what would otherwise have been a big stumbling block for me, in terms of conventional movie logic -i.e. the critical caveat of illogical behavior on the part of the characters when faced with a dangerous or potentially dangerous situation and NOT getting the hell OUT of there! In fact, at a very key point in the narrative, not only do the two main characters refuse to extricate themselves from a very risky and potentially dangerous locale, they positively LINGER there for what seems like DAYS!

Now, normally this would have had me crazy and screaming in frustration at the seeming stupidity or obtuseness of the characters. But, miraculously, in the case of 'Martyrs' I hardly even registered any of this because of the particular relationship dynamic of Lucie and Anna and their unique personal/psychological histories. In other words, given the very particular qualities of these two women, a specific case could be made for what would otherwise have seemed infuriatingly inappropriate behavior.

I find it both apt and reassuring that Laugier has referred to his film as the "anti-'Funny Games'", referencing Michael Haneke's deeply unpleasant, repellently grueling exercise in audience participation/endurance. For while 'Funny Games' was also not a horror film in the exploitative/commercial sense, neither did it have, for me, the inherent spiritual aspects or, dare I say, compassion, which make me willing to return to 'Martyrs', whereas I never feel myself eager to play more 'Funny Games'.

But, more than anything, 'Martyrs' lingers in my mind as a deeply sad, disturbing, and ultimately moving meditation on the theme of pain and transcendence. And though I can see many viewers recoiling from the experience, disgusted by its brutal savagery and depressed and offended by its seeming nihilism (with the emphasis on "seeming"), I find that the film's intriguing ambiguities and moral questions make for a rich cinematic tapestry, reflective of both heaven and hell. And yet, paradoxically, it is perhaps the film's unnerving ability to convey a world of bottomless evil and merciless cruelty that kept me from giving 'Martyrs' a full five stars. Almost as though a part of me would feel guilty in doing this -as if that would be akin to giving my implicit endorsement or tacit approval of the film's pitch-black heart of darkness.

Perhaps, Mr. Laugier, you did your job a bit TOO well!

Be that as it may, clearly this film has a lot more on its mind than simply grossing out or traumatizing its audiences, though it certainly managed that, as well, during some of its controversial festival screenings. Yet I would still hesitate to recommend it to most people I know. 'Martyrs' is, decidedly and emphatically, NOT a film for everyone.

But, for those looking to be challenged as well as shaken -for those willing to be taken to deeply uncomfortable places and shown terrible things in new and unexpected ways -for those yearning to FEEL a visceral response again after years of mindless, numbing "movie-violence"... For all these people 'Martyrs' will be a welcome, if not necessarily pleasant experience, leaving them with something to actually THINK about once the end credits have rolled.

A very sad postscript to a very sad film:

Benoit Lestang, a close friend of the director, and the man who contributed the film's jaw-droppingly powerful special make-up effects, committed suicide shortly after the film's completion. He did get to see the film prior to his death and apparently was proud of his work and moved to tears by the film. As to the specific reasons for his tragic decision, little has been spoken or written about that. And, given the film's specific subject matter, one could all too easily be drawn into the temptation of making inappropriate connections and drawing conclusions, which I shall assiduously avoid.

Laugier himself has been very candid about his own personal feelings, both in regard to the emotional devastation of losing his friend, as well as the fact that the creative genesis of 'Martyrs' sprang from a long period of Laugier's own depression. And he has indicated that, in some ways, the film was perhaps his response to that depression -partially expiating it through channeling his own darkness and pain into that of the film's theme and characters.

Suffice it to say, 'Martyrs' will provide a lasting and worthy final monument to Mr. Lestang's extraordinary gifts as a supremely talented artist and craftsman. And it is precisely that artistry, in conjunction with that of Laugier and the rest of his remarkable team, that resulted in startling images of strange and terrible beauty. Images which, like the film itself, continue to linger in the mind long after the final curtain.

Peace be with you, Benoit.

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I've seen some of the most extreme horror films in existence. It really takes a lot for me to wince, and possibly even skip a scene entirely if it looks like something very graphic is going to happen. But I winced and cringed etc. over almost the entire running time of this film, so relentless is it's brutality. The movie is like a hour and half long roller coaster ride through hell.

This is not to say that it's a bad film, because technically speaking it's superior from just about every angle. And while it is sometimes is the violence that startled me, it was more about the relentless tension and fear the film builds so well. It simply never lets up. The first half of the film sets the stage for a completely surprising plot twist that gudes the story to film's ultra-disturbing second half and ultimate conclusion.

Let me be clear: if people being endlessly cut, stabbed, bloody and maniacal isn't your thing, steer clear. If women being beaten and tortured isn't your thing, steer WAY clear. I gave it a three star review because of the quality of the product, but seriously, this is one the roughest, hardest to endure movies I've ever seen. And I've seen Cannibal Holocaust twice.

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MARTYRS is an exceptional experience for various reasons. I have no plans of getting into the plot too deeply, because ruining this movie's surprises would be tantamount to a cinema crime. Would I would like to focus on are some exceptional elements. This movie delves into realms not normally touched by the horror genre. The violence is extreme and over the top, but it has a reason behind it: Albeit, a twisted and sick reason. However, it is not mindless violence without cause just for the sake of "goring" someone to death. I am not a huge fan of gore. However, this film uses it properly to convey its intended message. MARTYRS is very successful in making the audience think hard about the questions it puts forth. I find it terribly interesting that the "bad guys" seem to all come from the upper class of society and for some reason they felt distinctly Nazi-like. The film is still tumbling around in my head as I try to come to grips with its intended message. I find much ambiguity, but I also find pointed questions and fearful revelations. Another issue of note is the near absence of curse words. American horror is filled to the brim with "F-Bombs" and all other variety of offensive language. MARTYRS seems to have no use for such language. It does not need it. It is also proof that superior suspense and horror films can be made without the need for constant cursing. I found it very refreshing. There is some mild nudity, but it is not sexual in any way. The focus of the film is its stunning and shocking visuals and the message it is trying to convey. The truth is: This is not a "happy time" film experience. If you want to feel good, do not watch this film. (Watch THE EMPEROR'S NEW GROOVE instead) If you want to be spoon fed, do not watch this film. If you want to think and test your analytical powers and your ability to pay attention to nuances, this is the film for you. NO WAY SHOULD ANY CHILD SEE THIS MOVIE!!! MANY ADULTS SHOULD NOT SEE IT EITHER. Make sure you can handle it.

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Anna and Lucie are friends on a mission. They are out to face and destroy the demons from Lucie's childhood of abduction and unbelievable trauma. Unfortunately, the pair have embarked on a journey into terror, torture, and utter despair. MARTYRS appears to be straight-forward enough, especially in its first half. Then, secrets are unveiled that plunge everything into a hideous nightmare of hopelessness and agony! Sound like entertainment? Well, if this description gets you excited, you might want to seek professional help! MARTYRS is a non-stop descent that simply never lets up. Once the aperture begins closing, it chokes out all light. Still, the underlying idea is ingenious. The title comes into play in a way that astounded me. Is MARTYRS disturbing? Certainly, but in a different sense than say, CANNIBAL HOLOCAUST or PHILOSOPHY OF A KNIFE. Though there is definitely violence and gore, it is not gratuitous, and actually needs to be included (Although, the graphic nature of KNIFE is also necessary). The truly unsettling things in MARTYRS are mostly psychological / pathological. I was drawn into this story far deeper than I am by most horror films. Anna and Lucie do not deserve their fates, nor is there any trace of a Hollywood resolution. This is horror in its extremity. A masterpiece in blood...

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Ruthless (1948)

Cult director Edgar G. Ulmer's magnificently perverse "Ruthless" finally arrives on DVD and blu-ray, courtesy of Olive Films. It's been a long time coming. For years, the only prints available for home viewing were bootleg copies, most of them missing several minutes of footage, apparently spliced together from broadcast showings that had been taped on VHS cassettes. Olive Films has rectified that situation with a satisfactory (but hardly spectacular) transfer of a complete print.

An independent production released in 1948 through Eagle-Lion, "Ruthless" tells the story of young man from a hardscrabble background whose lack of parental love and affection creates a fatal emotional flaw in his character. We watch him climb his way up the financial ladder, callously ruining every life he touches betraying the people who have helped him along the way and destroying every woman who is unfortunate enough to fall in love with him. The movie, in some ways evocative of "Citizen Kane" in theme and style, is nonetheless replete with distinctive Ulmer flourishes including unusual camera angles, deep shadows, razor sharp and artfully lit close-ups, and a fatalistic tone. Bert Glennon's cinematography is outstanding, as are the art direction by Frank Sylos, the musical score by Werner Janssen, and the costumes by Don Loper.

Ulmer was fortunate to be able to assemble a remarkable cast, some of whom give the best performances of their careers in "Ruthless". Zachary Scott is brilliant in the leading role of Horace Vendig. He doesn't flinch from the character's amoral core, and yet he manages to convey an undertone of wounded misunderstanding even in his most sadistic and manipulative scenes. Scott's portrayal is reinforced by the performance of Bob Anderson as the youthful Vendig. (Anderson also played the role of young George Bailey in Capra's "It's a Wonderful Life".) Diana Lynn, best known as a contract player in Paramount comedies, is dazzling in a dual dramatic role, playing two of the women in Vendig's orbit. Special kudos go to Sydney Greenstreet, the portly actor who was so memorable in "The Maltese Falcon" and "Casablanca." In "Ruthless", Greenstreet's typically sly and sardonic character becomes a truly tragic figure, allowing the actor to significantly expand his emotional onscreen range.

Cast in other key roles are Louis Hayward, Martha Vickers (of "The Big Sleep"), Lucille Bremer (the oldest sister in "Meet Me in St. Louis", a Bette Davis lookalike who appeared in only eight films), Raymond Burr, Ann Carter (the child star of "Curse of the Cat People"), and Edith Barrett (the mother in Val Lewton's "I Walked with a Zombie", and one of Vincent Price's wives) -each of these players shines. Also of interest is little known character actress Joyce Arling as Vendig's neurotic harridan of a mother: she plays her brief role skillfully, and one can't help but wonder at the cruel way the actress' acne scars are faintly highlighted in one scene. Was this by accident or, more likely, by design? Either way, it's shocking (especially in a film made in Hollywood's Golden Age when such imperfections were routinely hidden) and somehow, uncomfortable to witness.

As mentioned earlier, Olive Films' film to video transfer of this minor masterpiece is imperfect, but certainly acceptable. (I bought and screened the blu-ray.) The film has not been restored, but it is complete and uncut. There is a lot of speckling during the opening credits, and at certain times a distinctive hiss emerges on the soundtrack. The biggest flaw involves the few scenes in which the contrast seems to fade in and out; this is particularly annoying in one key sequence. Still, I have to admit that I was so absorbed in the film that these distractions seemed minor. There are no extras included on the disc. Overall, I heartily recommend "Ruthless", particularly to fans who enjoyed Ulmer's Karloff-Lugosi horror classic "The Black Cat" (1934) and his cult film noir "Detour" (1946). This one's definitely a gem.

The movie: *****

The print: ***

ONE OF EDGAR ULMER BETTER FILM AND HIS FILM DISCUSSING THE POWER OF GREED AND ITS CONSEQUENCES. GOOD WORK BY SCOTT AND LOUIS HAYWARD AND A WELL DONE STORY WITHOUT STEPPING ON THE TOES OF CHARLES FOSTER KANE...BRAVO EDGAR

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Scott delivers a terrific performance as a perfectly selfish man, willing to hurt anyone who gets in his way. Diana Lynn has a dual role and Louis Hayward, Lucille Bremer and Sydney Greenstreet will surprise you with their right-on performances. I never expected to see such a classy film noir from Edgar G; Ulmer after the classic DETOUR, but here it is! Excellent settings and performances in an A-film noir.

Dr. Ron Schwartz, Manhattan

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Very good. Portrait of a truely ruthless man and how he got the way he was.

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Bush: Live! (2012)

I was curious about this bluray because the AXS (originally HDNet) broadcast was riddled with Gavin's pre-recorded vocal tracks (used as backing vocals for live performances) being mixed LOUDER than his actual live vocals. It sounded horrible, especially during the chorus'. The first song of the concert, "The Mirror of the Signs" has been omitted from this official bluray release, and if you watched the live broadcast, its easy to tell why -the performance was not very good (it was one of the first times they played it) and Gavin's live vocals were not on 'time' with the pre-recorded backing tracks.

When it comes to live rock bands, Im not into click tracks. Im not into pre-recorded vocals, Im not into sound effects -I want live and raw. Bush's Woodstock 1999 DVD is a better example of this.... BUT, I will say that for THIS release, it was remixed from the live broadcast and the backing vocals have been lowered to make it much more listenable. Visually, the concert is stunning. A+ video. Performance wise, its not Bush at their absolute best but its good to great at times. "Alien" was fantastic.

Plays is 3 USA bluray players I tried. 1 PS3 and 2 different Sony bluray standalones. No worries if you are in the USA purchasing this. Trust me!

BUSH always puts on the best shows, and this one doesn't disappoint.. Loved every second. dont worry about the dvd zones that may be listed, it plays just fin in a US blu ray player.

BUY IT NOW!!!

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The Lucky One (Movie only+UltraViolet Digital Copy) (2012)

As a writer and philosopher, this movie in particular just blew me away. The first time I saw the previews for it, I remember thinking that it seemed to have an interesting quality to it which appealed to both my intellectual trades mentioned above. The first time I saw it, I was just blown away, as have I been in the three other times I've gone to see it.

Logan Thibault (Zac Efron) comes off as being the kind of character who you can really learn a lot from in terms of lust plain old life experiences in general. What other people brand as being 'mushy' or 'cheesy' I see as being the truth towards understanding how no matter what hand of cards you're dealt in your life, there is always hope. All you got to to is go and find it. Logan finds himself in this situation while on deployment in the Middle East, where a single, split second decision to pick up a photo amidst a pile of rubble undoubtedly comes to change the course of his entire life. After coming to the realization that finding that photo truly spared his life, along with knowing so many others were not so lucky, he finds himself obliged and determined to find the girl in the photo and thank her.

After a brief stay with his sister in Colorado, he sets off on foot to find this girl. His search takes him to a small town in Louisiana where once meeting her, his initial goal of thanking her is derailed as he suddenly finds himself falling in love with her, as well as growing to be very fond of both her eight-year-old son and her feisty grandmother. One thing in particular that I admired greatly about Logan's character is that he never once detered or swayed when it came to helping someone else in need, or standing beside them when they needed support. This is shown in the film when he rises to support Beth when she is grieving over the loss of her brother as well as amidst the conflict with her abusive ex-husband. At the same time, his imperfections are conveyed through his struggle to come clean with the true reason for which he intended to find Beth.

Out of everything, the most prominent element of Logan's character which resonated in my mind is the level of humility present in his character. He's not afraid to see things as they really are in his life, and tries his best to change what he can. Even when confronting Beth over the matter of Derek's picture, he makes his best effort to address the situation as honestly as he can, even when it could mean losing Beth and her family forever. Probably the most shining moment of the movie comes at the end, after Logan explains to Beth the details of her brother's death which she has wanted to know since his death, when the sum of all of Logan's actions come together to reward him in the form of Beth saying to him, "You belong here."

I know this as a fact, from personal experience, to be one of life's greatest lessons, and some people's inability to understand it is to be expected, as people are not perfect. That just makes the experiences of those who do even more culturally prominent, because passing that lesson on to another person is undoubtedly the most remarkable gift one person can give to another. Therefore, I raise my glass to Sparks, Efron and all those involved and say,

"Well done, my friends. Well done."

I have this subversive image of Nicholas Sparks in a wifebeater at the computer, angrily pounding the keyboards and listening to death metal while a burly biker gives him a tat. Because a guy can't be that wholesome and sensitive, can he? Except that, like clockwork, Sparks' bestselling novels keep getting made into films. THE LUCKY ONE is merely the latest adaptation.

This is Hollywood, babe, so we shouldn't harp on them heaps of uncanny coincidences. Such as these: In Iraq, the morning after a harrowing exchange of gunfire with the enemy, U.S. Marine Sergeant Logan Thibault (Zac Efron) gets off his duff and picks up a photo he glimpses lying in the rubble. Suddenly, there's an explosion right where he had been sitting, and that's when the notion probably first struck him that the photo is some sort of lucky charm. Eight months later, Logan's third tour of duty ends and he's going home, that photo still tucked away in his keeping. Logan regards the mysterious girl in the photo as his guardian angel, someone who'd kept him safe and breathing. He wants to find her and thank her. But he doesn't know who she is.

Back home, Logan Thibault is unable to settle down, and off he goes with his dog, walking, just walking. In his wanderings, he crosses several states and eventually ends up at a family-run dog kennel in Louisiana. See, he'd never stopped trying to look for that girl in the photo. By pure happenstance, the girl in question, whose name is Beth (Taylor Schilling), runs the kennel and she assumes that Logan has shown up looking for work. And because the plot demands it, Logan rides with the deception.

The kennel is this run-down establishment, and Logan quickly makes himself useful, never mind Beth's bitter ex-husband's assertion that he may be a "crazy drifter." It shouldn't surprise viewers that THE LUCKY ONE follows the patented Nicholas Sparks formula. The film, lushly romantic and graced with evocative cinematography, reminds me quite a bit, in terms of tone and sheer escapism, of A Walk in the Clouds. Of course, it makes more sense for Logan to right away inform Beth of why he's really there. But where would the movie be? Taylor Schilling is sweet and appealing, playing a young single mom raising a child while fending off the unwanted affections of her influential ex-husband (who is this bullying deputy sheriff). Beth nurses her own grief. She's yet to come to terms with her brother's death during the war. Logan's military past upsets her and prejudices her against him. Plus, he seems to be everywhere she's at. It's irritating. We all know where this is going. But Nicholas Sparks, with his sweaty wifebeater shirt and his deep aversion to sunlight, is adept at manipulating his audience.

Zac Efron surprises me. It's evident that those HIGH SCHOOL MUSICAL pictures are increasingly dimming in the rear view. A friend recommended CHARLIE ST. CLOUD to me a while ago, and I laughed at her with the smug convinction of someone who views Zac Efron as someone who belongs strictly in the teeny bopper crowd. But Efron demonstrates reserve and maturity in his portrayal of a troubled jarhead desperate for solace. He plays Logan as a man of serious humor but with hidden depths. I liked him. Blythe Danner comes in as Schilling's wise grandmother. Danner, naturally, exhibits that infallible knack for sensing the right man for her hurting granddaughter. I long for a grandmother like Danner. It surely would save time and effort on them online dating services.

A manly man like me can readily admit that he's a romantic cuss. I enjoyed THE LUCKY ONE quite a bit. Nothing in the story surprised me. I looked each plot swerve (not many) squarely in the eye. But Efron and Schilling invest in their characters, and they effortlessly pull the viewer in. It helps that the little boy is likable. There's a stillness and thoughtfulness to the film which I appreciated. It doesn't indulge in too many grand gestures, although, okay, the climactic sequence is pretty melodramatic. The movie accomplishes that ultimate flattery: It made me want to read the book. Yeah, Nicholas Sparks, in his wifebeater shirt, knows what he's doing. Even if he drinks human blood.

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Being the only male in the audience on a Friday afternoon, pretty much tells you what you are getting with "The Lucky One". As the lights came up as the credits rolled, I turned around to see myself standing among fifteen to twenty women, some were teared up, some weren't. Nicholas Sparks, the writer of the novel, has made a career off of books and movies that touch people's hearts. The biggest of those was "The Notebook", but "A Walk to Remember" & "Message in a Bottle" were notable as well.

While most of Spark's novels are tailor made for women, I found "The Notebook" to be something that everything could relate to with its theme of Alzheimer's. "The Lucky One" on the other hand, had many opportunities to reach a broader audience but brush stroked over those. I enjoyed "The Lucky One", but for some reason, it didn't quite affect me like "The Notebook" did. That may be because it didn't spend enough time in certain areas.

First of all, Zac Effron (High School Musical, 17 Again) plays Logan, a survivor of Iraqi freedom who stumbles upon a picture of Beth (Taylor Schilling) lying in a pile of rocks after a night raid. All we learn about Logan happens in the length of the opening credits. The problem with "The Lucky One" may just have been that the characters were all too interesting. There is depth to the characters, but the montages that are used to get all the information across are empty and unexplored. Sparks also did a movie called "Dear John" that had so many montages, I thought I was watching a two-hour commercial for Hallmark. I hate montages.

In the first four minutes of the film, we see Logan survive some war situations, see him return home with a picture that saved his life and see that he has a lot of post-traumatic stress. All of which is very interesting, but it happens in a montage and we lose all the emotion from it. Once the movie gets going though, to its credit, we start to see some real emotions coming out, especially from Schilling's character. She does an outstanding job portraying her sadness and her struggles as a single mother dealing with a lot of issues. Effron, on the other hand, is stuck playing a character that had his best parts portrayed in montage and for the rest of the movie, plays the perfect man. What else would you expect?

"The Lucky One" is just an okay movie that gives everybody that enjoys these type movies exactly what they're looking for. It has two beautiful people falling in love. It has drama. It has beautiful cinematography. It has all the cliché' things that make a movie like this safe from criticism and just outside the realm of memorable. As rich as the characters were, I just wish some of those character traits would have been fleshed out more.

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I loved this movie. The acting was so good. Zac and Tayor did a superb job. My husband liked this movie as well.

The story flowed from beginning to end. You will love it.

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This is an Improbable chick flick. Logan (Zac Efron) didn't die in Iraq, like most of his unit. He credits a picture of a blond he found in the rubble for his survival. When he returns home, he is a bit jumpy and decides to walk from Colorado to Louisiana to locate the girl(Taylor Schilling) in the picture. As it turns out, she, Beth, runs a kennel and before he can say anything to her, he is hired by "grandmother" (Blythe Danner) to be a helping hand. She has taken a shine to Logan while Beth thinks he is crazy. Beth also has a son (Riley Thomas Stewart). She has trouble dealing with the death of her brother in Iraq, who she feels died for no reason. The local sheriff (Jay R. Ferguson) is the father of Beth's child and he has some testosterone problems. The sheriff is more how young men really are: jealous, controlling, manipulative. Logan is how women want them to be.

My "chick flick" detector went off when I saw the movie poster. You wait for him to tell her about the photo...which would have been better if she said, "That's not me, you have the wrong girl." At which point he packs up and leaves, but they opted not to do it my way. This is a romance novel brought to the screen. The man is handsome, fit, intelligent, understanding, a good father, musically inclined, dances, fixes things up around the house, no vices, and a knight who protects his lady...not to mention the final soul mate connection. It hurt my brain to watch it, but the women seemed to love this fantasy.

The film was well made and acted. Good music score. But it wasn't my cup of tea. I will go 4 stars based on other people's reaction and not my own. If you love romance novels, this is your book come to life.

No f-bombs, no nudity, some love scenes. Is Zac Efron the new Fabio?

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Dorian Gray (2009)

I wasn't expecting to like this very much. However, I was very pleasantly surprised to find that everyone involved with this film knocked himself out. Oliver Parker, the director, certainly had so much more style and flair in his version than I'd seen in the old black and white version. Ben Barnes as Dorian couldn't be better. He is superb. He has the perfect face too for the walking around Dorian whose vices don't show on his face. Firth is his mentor but he is an armchair decadent compared to Dorian, able to talk the talk but not walk the walk.

If there is anyone on the planet who doesn't know the gist of this Oscar Wilde classic novel, it is this: Dorian Gray is a handsome, wealthy young man whose picture is painted as he is launched into society. He is quickly diverted into an ever escalating cycle of vice and debauchery. However, instead of the ravages of dissolution marring his face and figure, they instead ravage the painting. How far will he take this and is there any way out as the painting gets worse and worse?

The settings, the costumes, the details--all wonderful. I think Wilde himself would have enjoyed being at the premiere of this film!

DORIAN GRAY as adapted form Oscar Wilde's famous novel 'The Picture of Dorian Gray' and directed by Oliver Parker is about as fine a transfer of a period novel to the screen as has been made of late. The settings, costumes, and acting are all outstanding and with Parker's 'enhancing' some of the debauchery in the transformed life of this famous character updated to allow for more sensuality and brutality than prior cinematic versions, the tale really becomes dramatic.

Dorian Gray (Ben Barnes), an orphaned, abused child who happens to inherit a mansion in London upon the death of his only relative, comes to London as a young inordinately handsome yet shy man. He is immediately seizes the attention of Lord Henry Wotton (Colin Firth) who believes that the only goal in life is to respond to your desires, to your sensual needs. Dorian is introduced to a young painter Basil Hallward (Ben Chaplin) who is attracted to Dorian's beauty and as he paints his portrait he becomes enamored with his model. As the portrait is completed Lord Henry suggests that Dorian could always remain as beautiful as his portrait if he 'sold his soul' to remain ever youthful. Dorian takes up the idea and follows Lord Henry's tutelage to drink, smoke, and carouse in brothels, opium dens, and in the boudoirs of all the middle aged ladies of society. He encounters a beautiful young actress Sibyl Vane (Rachel Hurd-Wood), falls in love only to cast her aside (we later discover that her body has been thrown into the river much to the chagrin of her brother James (Johnny Harris). As Dorian's thirst for lusty and scandalous behaviors increases he causes much harm: the mutual attraction between Dorian and Basil eventually results in Dorian butchering Basil and discarding his body into the river grave. Dorian decides to leave London and travel to exotic places to try to fill his lascivious appetite: he returns twenty odd years later and every one has aged except Dorian. Lord Henry's daughter Emily (Rebecca Hall), born when Dorian departed London, is Dorian's intellectual match and the two are mutually attracted but Lord Henry violently objects, knowing what the real Dorian Gray is inside. Dorian's secret that he remains young eternally while his portrait ages and reveals the vile aspects of his corrupt life is finally revealed and the ending is a gruesome one.

Ben Barnes, Colin Firth, Ben Chaplin, and Rebecca Hall are all superb in their roles as are all of the many well-known fine British actors who fill minor roles. The DVD adds comments from many of these actors in a way that focuses on Oscar Wilde's novel, making the commitment of everyone involved seem more acutely aware of the film's purpose. It is a very well photographed, costumes, and lighted piece of cinematography a truly excellent period piece for this great novel to come alive again. Grady Harp, July 10

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I finally was able to see the 2009 version of Dorian Gray, adapted from the novel The Picture of Dorian Gray by Oscar Wilde.

I am writing this review AS an Oscar Wilde fan. I have read The Picture of Dorian Gray twice and I have read The Canterville Ghost twice.

I am going to tell you right now that these negative reviews that claim that this film is an insult to Oscar Wilde are WRONG! It's as if people who know very little about the works of Oscar Wilde are following a trend.

Those that say this would make Oscar Wilde roll over in his grave clearly have never seen the dreadful mid 2000s version of The Picture of Dorian Gray that re-sets it in the 1960s with a female Basil with horrendous acting. And they clearly have never seen the 1940s version of The Canterville Ghost that turned the entire story into World War 2 propaganda about a solider having to prove himself against a Nazi.

I will admit that this not a word for word faithful adaptation of the novel The Picture of Dorian Gray however it is very true to the heart of the novel, the meaning and purpose. The character portrayals are perfect and accurate. All changes are purely superficial. I know Ben Barnes as Dorian does not resemble the character of the novel however he does resemble Oscar Wilde himself and since Oscar Wilde saw himself in Dorian I felt this was a brilliant use of visual symbolism in Wilde's own relationship with Dorian Gray.

I know that some people have complained about the adding of the character Emily Wotton, whom does not exist in the novel. What people fail to remember is that nearly all film versions of The Picture of Dorian Gray have this 'redeemer' character. In the 1940s movie her name was Gladys. In the 1973 version of The Picture of Dorian Gray her name was Beatrice. In most versions she's Basil's niece or daughter but in this version she was Lord Henry's daughter.

What many don't know is that this character does exist in the novel. She's mentioned briefly near the end as a country girl named Hetty. Her part in the novel isn't as big as in the film adaptations but she does still exist and she works to add sympathy to Dorian's character.

You cannot see the inner workings of Dorian's mind in a physical medium like films or plays as you do with the novel so you you need a new way to see his moral struggle. And this is done through the presence of Emily.

Collin Firth was incredible as Lord Henry. That was the best portrayal of Lord Henry since George Sanders. When he says 'People die by common sense.' he fully became Lord Henry for me. Most people treat the role too academically and sound like they're boredly reading from a book. Collin Firth however really got it. He really understood the character. This version of The Picture of Dorian Gray has more of Oscar Wilde's witty epigrams than any other version before it. The only line missing that I wish was in here is Lord Henry gives Dorian a cigarette case. In this one it's just inscribed with Dorian's name. In the novel it reads 'The World has changed because you are made of ivory and gold. The curve of your lips re-write history.'

The only character of the film I did not like was this version of Sibyl Vane. In this version Dorian seduces her into sleeping with him before marriage (as he does in the original film with Angela Lansbury in the role).

When Sibyl starts talking about having a family Dorian argues that it is too soon, much thanks to the ideas planted in his head by Lord Henry. When this Sibyl kills herself it gets revealed that she was with child. This takes away from her sympathy. It's true having a child out of wed lock was frowned upon in the Victorian era but it did happen. And it did not mean the end of the world. Look at the character of Fantine in Les Miserables. It was selfish of this Sibyl to kill herself because she did not just kill herself, she killed herself and the unborn baby that she seemed so eager to have only a few scenes earlier. It looked almost as if the suicide was out of spite.

Sibyl does kill herself in the earlier incarnations but at least she had never done it while carrying a baby and knowing she was carrying the baby, and having wanted to raise the child. It's hard to sympathize with this version of Sibyl, especially since you know her brother Jim would have taken care of both her and the baby if not Dorian.

Basil, however, was very sympathetic. One thing I'm glad they cut was that in most versions Basil didn't just disapprove of Dorian's relationship with Sibyl out of jealousy, he also had told him not to marry beneath his class. Basil doesn't do that in this version. Basil is the most sympathetic of Dorian's Victims in this film.

Dorian himself is played exceptionally well though my favourite character portrayal in this version is Lord Henry. Dorian goes from ruthless and cruel to sympathetic and tragic in a heartbeat. The struggle is perfect. You can see his conscience, and not just with the painting. He is fighting against his own darker instincts which adds to making him sympathetic.

As a true Oscar Wilde fan I feel they captured the spirit of Oscar Wilde's intent. This was the best version of The Picture of Dorian Gray I have ever seen, the black and white version coming in close second for having the better and more innocent version of Sibyl Vane.

I am in America and we never got a theatrical release of this version of Dorian Gray. This film is truly good, truly exceptional, and, if you want to watch any film about a young looking immortal, this is far more intelligent, interesting and just plain better than the Twilight Saga.

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They just don't make movies in the states like they do in Europe! This movie had a really classy dark feeling. Though I personally didn't like all the nudity... It had to be in there to make a point to the downhill spiral Dorian made!

Ben Barnes is truely an amazing actor! He is so versatile in this and all his other roles! He came into the movie so innocent and "caspian" like! Then you saw the change as he " nailed his soul to the devils alter." Ben is a beautiful actor. He has such presence! I wish there were more young actors out there like him! He has TRUE talent. And he can sing and dance! What young actors can we say can do that? Not many! Ben is actually staring in a play called "Birdsong" in London starting September 18! Wow what else can be said for these brilliant British actors!?

It is a tragedy this movie wasn't shown in the USA on the big screen! Why? Well how many other countries movies are actually shown in the states? Not many! We need more of these movies here!

Colin firth! Amazing as usual and Colin and Ben's chemistry is outstanding!

Excellent movie and true to it's time! I wish it had gone on another 20 minutes!

Can't wait for Ben's movie "Locked in" to come to DVD since the USA probably won't show this one either!

Enjoy this movie! It is a masterpiece!

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The soul of Oscar Wilde's scandalous and captivating novel is alive and well in 2010. The latest film version of "The Picture of Dorian Gray" took my breath away. It is a different beast from Wilde's original novel, but it is no less majestic for its transgressions. The decadence is captivating, and the artistic expression is superb. Oliver Parker has shaped a masterpiece, manipulating an unforgettable tale and perfectly adapting it to film. What is important about Parker's film is that it projects the sensationalism and sensibility of the 1890 gothic story into the contemporary world, while remaining faithful to the culture that inspired the original manuscript. Yes, many aspects are unfaithful to the narrative as it is published under Wilde's name, but Dorian is not frequently known for his loyalty.

I truly cannot praise this film enough. As a faithful Wilde devotee, I highly recommend all others with even a passing interest seek out this visual, musical, and narrative masterpiece.

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In a Glass Cage (1987)

In A Glass Cage is a piece of work that should not be overlooked. When I saw the film Apt Pupil, I thought it was a decent film with some superb acting, but sadly I felt Hollywood had watered the movie down when it came to portraying the Nazi mentality, decadence, cycle of abuse, and cruelty. After viewing In A Glass Cage, I had finally seen what the other film could have become if it were not for Hollywood politics, and since then I have kept an ever closer eye on foreign cinema.

In A Glass Cage is a both a tale of mental decay and revenge. This story revolves around a German family that has relocated to isolation in Spain after the fall of the 3rd Reich, and a young man(Angelo), who as a child was abused by the patriarch of the family, Klaus; a former SS officer. Angelo has tracked Klaus down, and catches him committing another brutal act against a youth. Klaus' brutal act sends Klaus over the mental edge, and in a fit of despair, he makes a failed suicide bid, confining him to an Iron Lung with glass windows(the Glass Cage). Angelo, having gathered some sensitive journals depicting Klaus' crimes, uses this and his past with Klaus to coerce Klaus into allowing Angelo into the household to "care" for the paralyzed and helpless Klaus.

Angelo quickly begins corrupting the family, gaining the daughter's affections and simultaneously gaining the abhorance of the family matriarch, while keeping Klaus on edge by making him relive the atrocities he has tried to escape. At first Angelo does this through reading the journals of atrocities to Klaus, and eventually Angelo descends deeper into madness, and begins committing atrocities of his own. Starting with the matriarch of the house, Angelo begins to kill, and he quickly moves on to children like is described in the journals he reads. The torture of Klaus who both adores and despises himself for the very things he is now forced to watch has come full circle. His wife is dead, his daughter is controlled by Angelo, and he is forced to relive himself.

This is where the uncompromising nature of the piece really takes hold. Children are put to death in this film, and the viewer is not spared the agony of this with implications, or off-camera violence. This happens in your face, even in the very first scene with Klaus and the youth. It places a bitter slice of Nazi cruelty right in your mouth for you to taste. Eventually this cruelty is aimed at Klaus himself, and with the eerie aid of the daughter, the mental schism becomes complete, with Angelo assuming the role of Klaus in the glass cage.

I found this film to be more of a dramatic shocker than an art-house film, but the story is solid and the acting is top notch, especially when approaching the subject matter. In a Glass Cage does not shock simply to degrade the viewer, rather presents the violencce in a "this is how it went down" fashion. Nothing is glamorized and no character is particularly likeable, they simply do as they are programmed to do for better or worse, which is right on point in the context of Naziism.

If the visually-presented subject of Nazi cruelty regarding homosexuality, petiphilia, and grotesque murder of children would get you to leave a room, then this film is not for you. But for those of you seeking uncompromising cinema....

I saw this movie at a midnight screening in New York City about ten years ago expecting a movie loaded with blood and dismemberments. Instead, I got a movie lacking in gore, but high on psychological horror.

The movie is about Klaus, a Nazi war criminal and child molester exiled in Spain with his family, who ends up confined to an iron lung (a huge metal and glass breathing aparatus, the "glass cage" of the title). One day, a young man named Angelo shows up at his home demanding a private meeting with him. Against his wife's wishes, Klaus agrees to see Angelo, who walks out of the meeting with a new position as Klaus's live-in caretaker. He soon takes over the household and reveals his true reason for being there: Angelo had been one of Klaus's victims as a child, but rather than returning to exact revenge, he wants to learn from Klaus and reenact his atrocities.

The movie doesn't have any explicit gore, but it doesn't flinch at other disturbing visuals either. While most films that feature child murders only allude to them and have the crimes occur offscreen, director Agustín Villaronga doesn't hesitate to show a little boy's throat being sliced. More disturbing than any of the child murders, though, is how Angelo gains complete control of the household, including the full trust of Klaus's young daughter. It's the thought of evil having such seductive power that will haunt you long after the credits roll.

This movie is clearly not for everybody, and fans of mainstream cinema will likely brand this exploitation, but for those with a strong stomach and a taste for something different, this horror classic, long overdue on DVD, will be a real treat.

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IN A GLASS CAGE is an obscure and rather hard to stomach Spanish (kind of) arthouse horror movie. It has a rather bad reputation for being one of the most disturbing movies ever committed to celluloid and when I did some online research prior to placing my order on amazon's website I found lots of stories of whole audience walk-outs durings screenings of the film.

While I personally think that the film does not exactly live up to his bad reputation and feel that the shock value is a bit overrated (admittedly this could be due to my familarity with the plot prior to watching it) make no mistake about it: Most people will find story and events in this movie completely revolting and disgusting. I kidd you not.

IN A GLASS CAGE's story concerns Klaus, a paedophile and former Nazi concentration camp doctor who had conducted horrifying experiments on children during the war. Confined helplessly to an iron lung (the glass cage of the title) after a failed suicide attempt, he lives with his wife Griselda and daughter Rena very isolated in exile in Spain. One day, a young man blackmails Klaus in order to be hired as a nurse. It is obvious that the intruder does not simply wants a job and Klaus' past is linked to this young man...What unfolds is an horrifying tale about the attraction of evil and a cycle of ever repeating abuse and terror.

While the film is not overly graphic in its murder scenes, the film is often quite hard to watch, most notably when Angelo stabs a young boy with a gasolene filled syringe in the heart. However what is far more shocking is the sickness of the movie's theme of child abuse. It has to be said however that IN A GLASS CAGE is not a nasty horror film, exploiting a serious issue for questionable entertainment value. It is in fact quite intellectual demanding and you have a lot to think about after the end of the film (the cycle of ever repeating abuse and terror, the political subtext).

It is also very well made, boasting an impressive cinematography with images that linger long in the mind of the viewer. Kudos to the excellent actors for their powerhouse performances in very difficult and challenging roles.

As said before this is an demanding movie which will most likely upset and deeply shock most audiences. If in doubt, do not watch.

However I was not overly impressed with the DVD. Picture quality is acceptable, however far from outstanding.

Annoyingly there is little in the way of extras, just some well written liner notes (well written, but somehow pointless, since only stating the obvious) and a highly interesting but too brief interview with director Agustin VILLARONGA.

Thankfully the optional English subtitles are easy on the eyes.

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Banned in Australia for almost 28 years despite several attempts (even recently) to get it classified. It was available on video back in the mid eighties when I first obtained a copy from overseas and later as a dvd special edition several years ago . The film is extremely strong in its' depiction of child abuse after the second world war and will make most viewers feel sick during the abuse. It is probably the most disturbing film ever made and it has not lost its impact after such a long time. Most films lose their impact after a few years but such is the powerful screenplay and imcredible directing ,IN A GLASS CAGE not only pushes the bounderies in cinema but exceeds it like no other film I have ever seen.If you thought that SALO120 DAYS OF SODOM was a shocker when first released then wait until you see GLASS CAGE.It is a must for every film student and lover of European cinema.No mature adult should be denied the opportunity to see this very powerful film .The film in no way approves of child abuse and it is very anti child abuse but it does indeed shock the unshockable.

A MASTERPIECE.

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The box for this DVD caught my eye immediately. I must confess I've always had a morbid interest in Nazi atrocity movies, although while watching them I usually find myself filled with disgust, and absolutely enraged that the participants of Hitler's war on decency were able to get as far as they did, and that so many of them got away with it. This film is described as a horror story and, on that level, it certainly delivers.

The narrative concerns a former Nazi named Klaus who took advantage of his position to indulge himself in the sadistic torture and sexual abuse of young boys. He continues his horrible blood-spree after the war, but in a fit of remorse, attempts suicide and winds up an invalid, confined to an iron lung (exactly how this happens was very unclear in the actual film I rely on the accuracy of a review I read for this piece of plotline). His resentful wife and his small, shy daughter care for him, but long for a nurse to provide some relief. Enter a young man named Angelo who (we learn much later, but suspect from the moment of his introduction) was one of Klaus' few victims to survive meeting him. In a bizarre twist, the young man not only wants to perversely torture his tormentor in revenge, he also seeks to carry out similar crimes, acting out certain details in Klaus' diary exactly. Apparently Angelo's mind has been warped by his encounter with Klaus, and although he is horrified by the details, he is perversely excited by death, and seeks release by performing acts of cruelty in the presence of the man who treated him so badly so long ago. The result is a somewhat hard to follow but always absorbing shock-fest, which succeeds for its gory excesses if nothing else. It has more than its share of difficult-to-watch horror scenes, and one perfectly unforgettable scene in which Angelo murders Klaus' wife, and then ingeniously uses her corpse to exact a horrifying revenge. The contemplation of this scene alone chilled me to the bone and ruined my sleep for more than one night.

One aspect of it bothered me even more. This is NOT a gay film; I certainly don't view Klaus -who is married and has a daughter as anything but a sadistic heterosexual child molester, who happens to favor little boys as his victims. Yet it is aggressively being marketed as a "gay film" and I, for one, resent the fact that some people seem to see it that way merely because the sadistic child molester victimizes boys. The young actor who plays Angelo is quite handsome, but his actions are far too cruel, sadistic and depraved for anyone but a full-blown masochist to find him erotically stimulating.

If you want a fully realized and graphically bloody horror film, you will enjoy this picture very much. However, if you find this shocker even slightly erotic, I suggest you check out a good therapist on the way home.

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Saawariya (2007)

Note: Hindi with English subtitles.

The '07 Bollywood film `Saawariya' (i.e.: Beloved) is one of the most visually stunning films I've seen in quite some time. The storyline is one of those unrequited love themes that we're all familiar with; Raj (Ranbir Kapoor) falls in love with Sakina (Sonam Kapoor) who is in love with Imman (Salman Khan). While Imaan is away Raj attempts to win his way into Sakina's heart while another woman, a local prostitute played by Rani Mukherjee both narrates the love story as an objective observer and plays the part of a forlorn lover who hopes to win Raj for herself.

Though the tale unfolding is as old as time the presentation is inventive magical and totally mesmerizing. The soundtrack is also quite good though not quite your usual Bollywood faire, drift back and forth between festive and upbeat to melancholy and haunting. Well worth a watch for the visuals and music alone. If you enjoyed `Moulin Rouge' than you should certainly appreciate this film too.

Saawariya (meaning "Beloved") is director Sanjay Leela Bhansali's adaptation of Dostoevsky's short story "White Nights". The body of the film is decidedly Bollywood with all of the vibrant colors (the color blue has never looked so good) while the core remains true to Dostoevsky. Bhansali had expressed in an interview that he made this movie in part inspired by watching his grandmother waiting on the balcony every evening for his grandfather to come home from work. How deep is that love? Can it ever be distracted, even temporarily, from its long-standing object of affection? This movie meditates on some of these aspects of love. Saawariya is a musical and should be experienced as such. Here are some reasons why I fell in love with this movie:

1) Beautiful evocative sets that depict a syncretic town visited by different ages and cultures. A town that exists nowhere and yet everywhere. I was initially skeptical of Bhansali's choice of shooting this movie entirely on sets. But after watching the dreamscape of Saawariya unfold, I applaud his choice.

2) The beautiful and innocent Sakina as portrayed by Sonam Kapoor. Her emotive power is expressed through her eyes and she pervades the film as a lone angel awaiting her distant lover. Sonam will go far in filmdom with the right roles.

3) The exuberance of Ranbir Kapoor. Though he tends to overreach himself in some frames, he is mostly pleasant and sympathetic throughout the movie.

4) Excellent supporting and memorable performances by Zohra Sehgal and Rani Mukherjee. Salman Khan is remarkably restrained here and does justice to his brief role.

5) The music, O the music! Haunting, evocative, mesmerizing! After a long gap have I heard such beautiful melody pour forth from a Bollywood film.

6) People watching this movie in theaters were critical of the overtly blue hues that pervade the entire movie. But I just fell in love with the blue theme.

7) A few magnificent scenes like (a) Zohra Sehgal's dialogue with Raj (Ranbir) on forgiveness, (b) A mesmerizing shot of Sakina's playful beating of the carpets, (c) The song "Yoon Shabnami" wherein the faithful are awaiting a glimpse of the moon so that they may break their Id fast whilst Raj gazes away in the other direction at his "moon" Sakina.

I could go on and on but will stop here. Suffice to say that every frame of this movie is rich and I personally consider this movie a classic in the long run.

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I watched "Saawariya" at the cinema and I though it was just amazing.

The best thing about this movie is the amazing sets and landscapes.It's pure art, and what better way to experiance it than 1080p ! Most of the songs are great and mesmerizing, the plot is great although the script could have been better.

All in all this Bluray is a must have for all Bollywood fans who want to experiance a little "masala" in high defenition for the very first time !

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My life has changed after seeing this movie. I'd forgotten all about magical places until I watched this movie, why?

First, the music is exquisite, lyrics, musicians, compositions, I understand the music was specifically written after the movie was made and therefore it fits like a glove. You will be transported to this wonderland, where beauty and magic converge. Equipped with a family heritage of talented movie makers and actors comes the genius of Sanjay Leela Bhansali. I'm going to follow his productions from here on out. He introduces two fresh heavily talented actors, Sonam Kapoor and Ranbir Kapoor, (both are fabulously good looking) and not related or married to each other as of this writing, they meet and deliver pure magic weaving a story of many dimensions.

A special guest appearance by Salman Khan playing "Imaan", Khan is recognized as the 7th most handsome man in the world, please don't let me see numbers 1 thru 6, I don't want a heart attack. His portrayal is mysterious as he appears in the movie one thunderous night with lighting flashing and thunder roaring, as Sakina (the fragile beauty) who is hypnotized by the very sight of this masculine man who appears like a vision and says: "We have a lifetime to gaze into each others eyes." If you're a woman watching this scene you either faint or scream, like I (and my daughter) did.

Ranbir Kapoor as a new comer seals the deal as one great up and coming actor, he dances, with moves like greased lightening, (his dance moves would make our own Elvis proud). Also Rani Mukherjee, as Gulabji the street wise and lovely woman of the night who tenderly recognizes the love struck "Rock Star" angel in Ranbir Raj and she seems to fall in love herself.

I loved the part Zohra Sehgal plays as "Lilipop," she starred in "The Jewel in the Crown" a PBS production about India's relationship with England leading up to India's Independence. The set designs are beautiful as we are transported through the "blue" streets and canals of this fantastic city of secret meeting places, the music is wonderful, and the actors are exquisite; a veritable feast for the senses. I loved Begum Para's portrayal as the blind grandmother who safety-penned Sakina to her, she reminded me of my own grandmother who happened to be blind and who was more aware of things going on than anyone imagined.

I immediately bought the dvd, and three cds of music, one for my auto, one for home and one I'm saving in case I wear one out! This is a beautiful love story, and what I immediately noticed was the great difference between American movies where French kissing is the least lustiness you see, in Saawariya there is no-kissing and no-hint pornography of any kind to weigh down this wonderful cinematic treasure. You are in for a treat with this magnificent production, and you don't have to worry about borderline porn, which is so overused in western cinema that it has become a total bore.

Treat yourself to some great cinema and take in this delightful movie, you'll be happy you did so. Saawariya is "Top Notch," in my books! Thank you to Bollywood and Sony entertainment.

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This movie was well worth the buy. The only thing I didn't like were the special features. I would have liked to see the making of the set. Director/actor interviews. Other than that the movie was outstanding, the picture quality was insane. So far this has been the best bluray movie I have purchased, picture wise. Ranbir & Sonam did a great job for their first movie, hopefully they will have many more huge hits in the future.

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Le Beau Serge (The Criterion Collection) (1958)

I feel that "Le Beau Serge" is a very sweet and well thought out film. It tells a story of a young student (Francois Bayon) who returns to his countryside hometown to recuperate. Upon arrival, he runs into a drunkard whom he recognizes to be his childhood friend (Serge). Francois' friend Michel tells him how Serge is on the verge of self-destruction after failing to get his architectural degree. Later, both friends are reunited and have an opportunity to catch up on old times. Francois observes Serge's inconsistent and erratic behavior and tries to help him mend his way. Along the way, Francois meets Serge's wife (Yvonne) and her sister (Marie). Francois has a brief affair with Marie before finding out she is raped by her "father". One night during the village dance, their affair ended with everyone humiliating and ridiculing Francois. Serge, angry with Francois for coming to his life while he's at his lowest point begins to despise beat him up in public. After the incident, Francois realizes that the people in the old village he used to remember are no longer the same. His conversation with the village priests destroyed all the innocent illusions he initially had. While the priest advises him to leave the village, Francois vows to stay on to help Serge and his family mend their lives.

I believe "Le Beau Serge" was Chabrol's first feature film. He later went on to make another feature "Les Cousins" which might be intended to complement "Le Beau Serge". Chabrol engaged actors Jean-Claude Brialy and Gerald Blain for both films with their roles and situations reversed. I first saw "Les Cousins" before "Le Beau Serge". Jean-Claude Brialy, being a brilliant actor that he was, gave out a stellar performance in both films. He's so good that I could not identify him as Jean-Claude Brialy anymore. Instead, I was so taken in by his acting ability that he became a sly, cunning snake whom I hated so much (Paul) in "Les Cousins" or a gentle, sensitive and wonderful young man whom I fell in love with (Francois) in "Le Beau Serge".

You have to watch both films to appreciate a surreal, mocking quality and ironic effects that Chabrol wanted to create. I love both films very much. Chabrol has an amazing eyes for details (scenes, storyline) as well as depth for the films' dialogues, story lines and plots. If I have a choice, I think the title of this film should be changed to "Le Beau Francois" instead :P Once again "Le Beau Serge" is a beautiful film that deserves many stars.

When discussion is brought up among cinema peers of nouvelle vague (The French New Wave), its easy to think of names such as Francois Truffau, Jean-Luc Goard, Eric Rohmer, Jacques Rivette. Individuals, colleagues and contemporaries who each worked for Cahiers du cinema before they became filmmakers.

But there is one man that was a colleague who may have not received the prestige as his contemporaries but is respected for his contribution towards cinema with his thrillers but also years of cinema as part of his oeuvre. The man I am talking about is Claude Chabrol.

While debated of which film kicked off the French New Wave, many regard Chabrol's 1958 film "Le Beau Serge" (Handsome Serge) as the film that began the Nouvelle Vague. Feature films created by contemporaries of Cahiers du Cinema that went on to become filmmakers.

In fact, Francois Truffaut had given Chabrol the biggest compliment in 1958 for his directorial debut on "Le Beau Serge" saying, "Technically the film is as masterful as if Chabrol had been directing for ten years, though this is his first contact with the camera. Here is an unusual and courageous film that will raise the level of French cinema".

If there is one thing that can be said about Chabrol, although his name is not as well known as Truffaut or Godard in America, and while "Le Beau Serge" is a long awaited release for a Chabrol film from the Criterion Collection, he still remains the most prolific filmmaker among his contemporaries who nearly has released a film every year since 1958 starting with "Le Beau Serge" and ending in 2009 with "Bellamy", a year before Chabrol passed away.

For cinema fans, many have been wanting the Criterion Collection release of a Claude Chabrol film on DVD for a very long time but finally, the Criterion Collection will be releasing two Chabrol films, "Le Beau Serge" (1958) and "Les Cousins (1959) on Blu-ray and DVD in Sept. 2011.

"Le Beau Serge" is written and directed by Claude Chabrol and would star Jean-Claude Brialy ("A Woman is a Woman", "The Phantom of Liberty", "Elevator to the Gallows") and Gerard Blain ("Hatari", "Les Cousins", "Le Mistons"). The film would also feature the beautiful cinematography of Henri Decae ("The 400 Blows", "Le Samourai", "Elevator to the Gallows") and long-time Chabrol editor Jacques Gaillard.

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"Le Beau Serge" is presented in black and white (1:33:1 aspect ratio) and immediately upon watching this film, you start to realize how beautiful this film looks, from the symmetry of objects to the chose angles and shots of the characters as they walk towards the camera, away from the camera or trying to incorporate the city into the film.

And as Henri Decae had shown in the 1956 film "Bob le Flambeur", his cinematic style can be seen the following year through "Le Beau Serge", "Elevator to the Gallows" and "The Lovers". Beautiful cinematography and following the direction of Claude Chabrol who wanted to capture the look and feel of the city of Sardent in his film.

The film is over 50-years-old and on Blu-ray, the Criterion Collection did a wonderful job in making the film look absolutely beautiful. Black levels are nice and deep, contrast and showcasing the whites and blacks are beautiful and for the most part, "Le Beau Serge" doesn't have any artifacts, edge enhancement nor did I detect anything negative in terms of overall picture quality. The film looks fantastic on Blu-ray!

According to the Criterion Collection, the new digital transfer was created in 2K resolution on an ARRISCAN film scanner from the original camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using Revival Flame, and Smoke, while Digital Vision's DVNR system was used for small, grain and noise reduction.

AUDIO & SUBTITLES:

"Le Beau Serge" is presented in monaural French with English subtitles. Dialogue is clear, subtitles were easy to read and for the most part, the vocals were cleared and detected no hiss or crackle during my viewing of the film. If anything, I really enjoyed how Emile Delpierre incorporated music to this film, especially the quick music cuts whenever Serge or Glomaud are shown on screen.

According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical track print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated workstation.

SPECIAL FEATURES:

"Le Beau Serge The Criterion Collection #580' on Blu-ray comes with the following special features:

Audio Commentary Featuring a wonderful and in-depth commentary on Chabrol's career and his work on "Le Beau Serge" by Guy Austin, author of "Claude Chabrol".

Claude Chabrol: Mon premier film (51:36) A 2003 documentary by Francis Girod on the making of "Le Beau Serge" featuring interviews with Chabrol and Jean-Claude Brialy.

"L'invite du dimanche" (10:00) Segment from a 1969 episode of the French TV series in which Claude Chabrol revisits the town of Sardent, where "Le Beau Serge" was filmed and the village where he grew up in.

Original theatrical trailer (2:54) The original theatrical trailer for "Le Beau Serge".

EXTRAS:

"Le Beau Serge The Criterion Collection #580' comes with an 16-page booklet, which includes the following essay "Homecomings" by Terrence Rafferty.

JUDGMENT CALL:

Hauntingly beautiful. These are the two words that I describe Claude Chabrol's debut film "Le Beau Serge".

An incredible feat. for the Cahiers du Cinema critic who produced, wrote and directed the film and I don't know if I can categorize the film as a psychological drama.

The late Francois Truffaut described the film as a chess game and perhaps if you see the film in that perspective, it does make sense. You have Francois (Brialy) who once lived in a small village now from a big city who comes back into town. Francois is actually a nice man, non-intrusive nor does he flaunt to anyone that he is better than them because he lives in the city.

But for the villagers, it's a preconceived notion that because he was able to move away from the village, he thinks he is better than they are.

I put myself in the shoes of Francois, also coming from a small town and having lived in the city and I know there are moments when I was younger in which I have flaunted to friends in town about the fact that the city is fun for its close proximity to shopping, beaches and as a young man, there were a lot of women. But looking back at it now, it was so trivial, so much of commodity fetishism in boosting one's ego of the have's to the have nots.

But I look at the situation that is presented in "Le Beau Serge", he doesn't flaunt but his presence in the village, wearing his nice clothing in front of those who are barely surviving and not so happy with life but have accepted their life in the village as final.

This is where I identify with Francois because when you go back, you want to help your friends, especially those you feel have so much potential to be something bigger. In the case of Serge, he is a man that had so many dreams, wanted to leave the village like Francois but got a young woman pregnant and found himself married and stuck in the village he desperately wanted to leave. He has kept this burden of having his first child dead at birth but knowing that the right thing to do is stick by your wife and living life to provide for one's family but in his case, drowning all the sorrows away through drinking heavily.

I've known to many people like Serge in my life who live their life as is...miserable and unhappy inside but are traditional. While Francois had left the city and his big advice to Serge, "to leave his wife". It may seem quite harsh but it is logical that if a man is unhappy with his marriage, you leave.

But with Serge, he knows with a baby along the way...he can't leave.

But it's the return of Francois that enhances Serge's negative and jealous emotions. You would think that there would be an ebullient sense of emotion but with each meeting between both Francois and Serge, you feel this ominous feeling that things are not right.

We see a scene with Serge wanting to tell Francoise of why he became a drunk. Why he lives this lifestyle. Why he is so miserable but if Francois only solution is for Serge to leave his pregnant wife, it's unacceptable.

And for Francois, he had forgotten how things were in his village and many who see potential within him want him to leave because he is better off than being back at home where many men do not aspire to be bigger, they just live life as is, even if its a life of effete, a lack of vitality that one can not escape. Life is what it is...you just live it, repeat it.

And of course, Francois seeing this...he wants to make a difference. But can he?

"Le Beau Serge" is a magnificent feat. for Claude Chabrol as his debut film. While his future in cinema may not have been as lucrative nor historic in comparison to his other contemporaries, the fact is Chabrol is a filmmaker who did things his way, his style and he continued to create films in 1958 with "Le Beau Serge" through 2009, a year before he died.

"Le Beau Serge" is a film that is mature but perhaps is also a film that brings Claude Chabrol back to his village of Sardent and is in someway a self-discovery of his present life and his past. The film is not autobiographical but it's a film that Chabrol was proactive in making sure the village of Sardent, what he saw in terms of life was captured onscreen. And of course, the cinematography is quite beautiful and it helps to have one of the best cinematographer's in French cinema at the time, Henri Decaë.

The film also has elements of Chabrol's life as he also wanted to become a priest at one time and help people. The film was raw in the way that Chabrol created a film with a small cast and worked in familiar territory, his hometown with a potential of many extras alongside him.

But through its visual beauty and its complex characters but accessible storyline, "Le Beau Serge" is a film that started the Nouvelle Vague era of film critics of Cahiers du Cinema taking up the mantle of becoming filmmakers. He inspired his contemporaries because he was able to go through his own filmmaking route and create this film with his own personal vision without having to follow any big studio or producer. It was his film, no ifs, ands or buts.

Surprisingly, "Le Beau Serge" while adored by film critics, it was delayed to the point that when it was released in theaters, his second film "Les Cousins" would be released a month later and it was his second film that would actually become the commercial hit.

While "Le Beau Serge" doesn't break any new ground, nor is it remembered as a non-traditional film when compared to Truffaut's "The 400 Blows" and Godard's "Breathless", in 1958, it's the fact that he was a man who had creative freedom to do what he wanted and capture the raw feel of his village onscreen with beautiful lighting and awesome performances by Brialy and Blain that make "Le Beau Serge" worth watching.

Once again, I applaud the Criterion Collection for bringing Claude Chabrol films to their collection but also giving both "Le Beau Serge" and "Les cousins" the Blu-ray treatment. The Blu-ray release looks fantastic and the addition of the documentary of Chabrol returning back to Sardent and watching these classic interviews is priceless!

Overall, if you are a Chabrol fan, a cinema fan or brand new to cinema and want important films in your cinema collection, then "Le Beau Serge", the first film of the French New Wave is definitely recommended!

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Credited as the first feature of the French New Wave, Claude Chabrol's first film as writer/director has little of the controlled tension that defines his best work. This study of a village which witnesses the return of Francois, who left 12 years ago to seek a future in Paris, has Chabrol's customary exploration of the class divisions in French society, with the prodigal son the bourgeoisie, and the villagers the pagan primal proletariat. Francois is determined to "help" his friend Serge and the lifestyle Francois clearly disapproves of. However the idea that these people need help is a sign of superiority and impertinent presumption, signified by Serge's wife's claim that Serge wasn't disatisfied with his life until Francois returned and pointed out that he should be. Chabrol makes Serge's wife pregnant, with her first child born mongoloid and dead, so that the condition of the unborn child symbolises the future, at least as seen through Francois. Chabrol's dialogue has occasional lapses into exposition which betray him as a novice storyteller and odd bursts of melodramatic music, and the only New Wave touch is the use of a torch to light one scene, where it points straight into the camera. Chabrol presents the bleakness of the village with Serge walking drunkenly through the cemetary, a lone dog walking the streets, and a gang of school children travelling to and from their school. His scenes of violence have an immediacy compared to the exchanges between Francois and Serge. and a romance between Francois and Serge's half-sister, and Chabrol provides memorable images an overlap of Francois' face and falling snow, an ominous slow closing of a door, a long closeup of a woman crying, and cutting from Serge's wife in labour to Francois falling and Serge being dragged along the ground. There is also an interesting dance sequence, which shows the villagers in a more sophisticated environment, and also featuring two women dancing together for one to interpret as you may.

Read Best Reviews of Le Beau Serge (The Criterion Collection) (1958) Here

Having seen several films by Claude Chabrol (-IE"Les Biches", "Le Boucher", "La Rupture", "La Cérémonie", "Merci Pour Le Chocolat") before having viewed this one -"Le Beau Serge" seems like the work of another filmmaker. Technically this was the first film of the French New Wave. As such, it features (1) some very good black and white cinematography (the snowy scenes towards the end of the picture are especially beautiful); (2) crude and quirky provincial characters that are well delineated; and (3) an excellent score by Émile Delpierre; Chabrol cleverly and effectively used the orchestrations of this score to highlight dramatic moments and character appearances via musical punctuation. Yet in spite of everything I like about this picture -Its style is not yet Chabrol to me. Although there is an innocence about this film that is refreshing -Especially in contrast to the sinister direction Chabrol would take to create his unique murder-mystery-thriller-type genre (albeit always tinged with humour).

Secondly -This picture seems like a companion piece / bookend to Chabrol's second feature, "Les Cousins", in which Gérard Blain and Jean-Claude Brialy are once again cast as the leads. However -"Les Cousins" exhibits a big leap forward in Chabrol's style -It offers up some verve in terms of its sophistication and polish. It is obvious that Chabrol learned a lot from "Le Beau Serge" and applied that knowledge to "Les Cousins". In closing: Besides the leads in "Le Beau Serge"-Brialy (François Bayon) and Blain (Serge), both of whom are well-cast and outstanding in their roles -There are other excellent performances in this film; notably Bernadette Lafont as Marie, the coquettish, seductive "stepdaughter" of Glomaud; and Edmond Beauchamp, a genuine character actor, who plays the "stepfather" Glomaud with serio-comic aplomb.

Stephen C. Bird, author of "Catastrophically Consequential"

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Monsieur Chabrol's first feature film is entirely impressive.

His early directorial genius is lucky enough to have utilized the dazzling, acting abilities of the handsome Blain and Brialy in their primes. In an interview, the actor Brialy comments that in this story the relationship of the two friends is ambiguous-and I quite agree. There's more than just plain, innocent friendship between the two. I see a double meaning in their interactions, sensing some homosexual undertone. Maybe there has been no actual physical intimacies

but solely emotional or pyschological. I have seen a few Chabrols and admire this director's capacity to challenge me such as the magnificent movie--Le Beau Serge--which I recommend to everyone who truly loves cinema.

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Smiles of a Summer Night (The Criterion Collection) (1955)

This was director Ingmar Bergman's break-through film, the winner of the 1956 Grand Prix at the Cannes Film Festival, the first of his many internationally acclaimed films. The story is a time honored one, referrencing the same tradition of romantic complications found in Shakespeare's A MIDSUMMER NIGHT'S DREAM and Rostand's LA RONDE: every one is either in love with or married to the wrong person.

A famous actress with two very different lovers invites both, their wives, and the son of one lover to her mother's country estate in the hope of sorting out the romantic entanglements to her satisfaction--and the result is considerable charm and unexpectedly dry wit. All the performances are excellent, with Eva Dahlbeck's Desiree a standout, but the real star of this ensemble piece is the unexpectedly witty script. Never quite veering over into broad farce but never sinking into romantic sentimentality, it is a very precisely written tale, and both cast and director make the most of it.

In the face of Bergman's later work, SMILES OF A SUMMER NIGHT may seem rather slight, and indeed both psychology and cinematography is considerably less complex than one expects. Even so, it is very much a Bergman film: the visual style is distinct, and the themes of appearances vs. reality, the inability to correctly interpret another's behavior, and the failure to understand one's self are very much in evidence--only here to comic effect. It is in every way a charming film that Bergman fans will enjoy.

Incidently, SMILES OF A SUMMER NIGHT was successfully translated to the stage as the musical A LITTLE NIGHT MUSIC, the score of which includes the famous "Send In The Clowns." Fans of the original film will be interested to compare the two works.

Fredrick Egerman (Gunnar Bjornstrand) is a forty-something lawyer of precise calculation, a bit of a dandy among the mercantile. He has a young wife Anne (the very pretty Ulla Jacobsson) whom he married when she was sixteen, but somehow never got around to unintacting her virgo. He has a sometime mistress Desirée Armfeldt (the voluptuous Eva Dahlbeck) from whom he has recently been estranged. He has a son Henrik (Bjorn Bjelvenstam) full of angst and love's confusion who lusts after the saucy maid Petra (a blonde Harriet Andersson) while he studies theology and his father's wife.

The night for Fredrick and Anne (after a Platonic nap during which Fredrick inadvertently pronounces Desirée's name) begins with the theater; and who should be starring in the production but Desirée. Anne suddenly takes ill and they rush home. Fredrick now steals away to see Desirée. After a pratfall in some water he ends up in some night clothes that belong to Desirée's current lover, the militaristic Count Malcolm (Jarl Kulle as a sprung-steel bantam) who, as it happens, arrives upon the scene much to the merriment of Desirée and to the embarrassment of Fredrick.

The culmination of love's labors and intrigues takes place at the chateau of Desirée's mother, Mrs. Armfeldt (Naima Wifstrand). The action includes a most amusing duel, some hanky-panky atop a haystack, musical beds, an attempted suicide, some Chateau Mouton-Rothschild (if I caught the label right), the amorous kiss of young lovers, the triumph of the fairer sex, and the very proper lawyer's final humiliation.

If you haven't seen Smiles of a Summer Night you are in for a rare treat: a comedy by Ingmar Bergman. And it is no ordinary comedy. Shakespearean and Oscar Wilde-like in its sharp, satirical (and oh so worldly wise) dialogue, this playful romp with the Swedish landed gentry and servants of a hundred years ago is a delight that will satisfy the most sophisticated viewer as well as the most middlebrow.

Owing something to the French farcical tradition (in particular Molière), to light opera (maybe Mozart), and even the Greek theater, Bergman's romantic comedy sparkles with love's intrigues and pratfalls. According to Pauline Kael, whose review is part of a 24-page booklet that comes with the Criterion Collection DVD, Bergman had just finished directing a stage production of The Merry Widow which accounts in part for the fin-de-siècle setting and the genteel treatment that he finally settled upon for his comedy of manners. Also I think this examination and satire of the class structure with hilarious asides on the foibles of human nature owes something to Oscar Wilde's The Importance of Being Ernest which was set in approximately the same time period and had a similar cast of characters including a Grand Dame, an ingenue, some rustics, a clergyman, but most directly in the fact that both Wilde and Bergman aim their sardonic wit directly at the burghers and the bourgeois. Bohemians need not apply. Indeed the closest thing to a Bohemian in the play is the actress Desirée who is the very calculating and dominate personage of the film.

By the way, Bergman's future protege, Bibi Andersson, does appear in this movie, but only for a moment as an actress on stage at the theater.

The final, cynical bemusement comes as one reconsiders who ends up with whom. Not to spoil the plot, but notice that in every case there is something less than perfect in each romantic partnership, something slightly amiss that may cause problems down the road, something unsettled that suggests that nothing has really changed. As the French say, the more things change, the more they remain the same. It is this ironic underpinning to this delightful comedy that lends to it something of the timeless. Bergman is good at that.

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I came to Ingmar Bergman films in the mid-sixties, as a teen, and liked them because they seemed so stark, so unlike the typical Hollywood fluff. They called 'em art films, but I liked Bergman because of the characters and the stories, not to mention the look and feel of his films. It was only when Criterion Collection released SMILES OF A SUMMER NIGHT this year that I finally got to see a film I had heard a lot about but never bothered to seek out. Criterion's other Bergman films were all must-haves so I ordered Smiles right away. (I have seen Sondheim's A Little Night Music on stage some three times and saw the film, so I suppose this Bergman source film seemed less unknown than his others. And, by the way, after seeing Smiles, I appreciate even more how nicely Sondheim et al adapted this film.) True to Criterion's high standards and TLC in presenting its films, Smiles looks as good as it must have when it was released almost fifty years ago. This light comedy involves several pairs of lovers who, for a variety of reasons, might be better off if the deck were shuffled and they ended up in another pairing. Aging actress, married lover; aging lawyer, too-young virgin wife; tortured soul son of lawyer, saucy maid temptress, and lawyer's too-young virgin wife; wife of military man who knows husband has mistresses, including the aging actress. Shuffle the deck a few times and a lot can happen in a movie with characters such as these. Sondheim wrote the entire score to A Little Night Music in waltz tempo, which perfectly captures the whirling intricacies of the relationships. Bergman started it all with a very entertaining and perfectly cast film, full of both comedy and the human dimension of mismatched people who may be investing too much energy in the wrong person. It all sounds confusing, but, trust me, you'll enjoy the heck out of this picture. If you think Bergman is just The Silence, Cries and Whispers and Winter Light, you're in for a real treat with SMILES OF A SUMMER NIGHT.

Read Best Reviews of Smiles of a Summer Night (The Criterion Collection) (1955) Here

Bergman's first major film, and the only comedy he ever made. This will blow your socks off (especially if you only know Bergman's later works).

It's a romp, a meditation on the unpredictability of life and emotions, a tribute both to perseverance and to capriciousness. The performances are flawless: engaging, complex, simultaneously light and profound.

It will make you wish Bergman had made more comedies: I've never seen another comedy that accomplishes this level of depth and vivacity, with pits of despair danced over, landing in a glorious, life-affirming ending.

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Ingmar Bergman directed a romantic comedy when he filmed Smiles of a Summer Night that is as playful as Shakespeare's A Midsummer Nights Dream and is set in a small scale backdrop of Renoir's Rules of the Game (1939). Despite the similarities of other stories Bergman creates a unique comedy that is full of conspiring intrigue as it revolves around a small number of characters at the turn of the century in a small Swedish town.

Fredrik Egerman (Gunnar Björnstrand), a successful middle-aged lawyer and former widower, has remarried with Anne (Ulla Jacobsson) who is at least twenty years younger than him. Fredrik's son, Henrik (Björn Bjelfvenstam), from his previous marriage, is of the same age as Anne and has recently arrived home from completing his theological examinations. Petra, the family maid, flirts with Henrik as he expresses his liking for the opposite sex. As a consequence, Henrik is struggling with an overwhelming inner guilt originating from his incapability to live by his lofty values stemming from his Christian faith. In addition, the prominent actress Desiree Armfeldt (Eva Dahlbeck), a previous lover to Fredrik, is performing at the town theater. Fredrik makes nightly visit to Desiree which puts him in harms way as Desiree's current lover, Carl Magnus (Jarl Kulle), a military officer known for his success in duels visits at the same time. However, this is just the beginning for all the predicaments that Fredrik is about to experience.

Smiles of a Summer Night is a well-written comedy with several subplots that drive the main theme, love, forward as it displays Bergman's wide range of story telling. Bergman displays a simple story which becomes complex as the characters are continually dishonest. It is the profound level of deceitfulness in the story that produces intrigue and brings about the comedy. As the final scene fades away in memory, the audience has gone through a first class cinematic experience that will lighten and enlighten those who participated.

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