My Brilliant Career (1979)

Gillian Armstrong and Judy Davis (as the autobiographer, Sybilla Melvyn in the film, a woman named Miles Franklin in real life) made their stunning entrances into directing and acting stardom in this little gem of a film, stunningly photographed in the Outback of Australia by Donald McAlpine (whose genius would 20 yrs. later, be married to another Australian's genius, Baz Luhrmann, to bring us both "Romeo + Juliet" and the extraordinary "Moulin Rouge"), and who here brought the stark beauty of the Bush to life in glorious tones of gold and rust. This was later contrasted with the unexpectedly green, white-linen-ed, lush environment of Sybilla's grandmother's home, where she meets up with the quickly love-struck Harry Beecham (Sam Neill). Utterly charmed by her wit, energy, freedom of spirit, he is quickly bowled over by how different this untamed woman of the Outback is from his genteel friends, all of whom seem to have moved to Australia in order to transform it into England, and themselves into a sort of less costly version of the "aristocracy." He's unprepared for a woman whose early morning greeting consists of a pillow thrown out of a window onto his head, leading to an all-out pillow fight, when most of the young eligible women he knows are too busy learning to sip tea properly to even have the time, let alone the inclination, to chase him into a nearby meadow with a pillow as a weapon. Rolling around in the grass isn't what young ladies do at the turn of the century, even in only relatively civilized Australia, and this rollicking scene sums up both the reasons they get on so well and are so very imcompatible. For Sybilla, her playfulness is that of a free, fun-loving tomboy, while for him, it's more a form of courtship foreplay. He wants to marry her, and spends the whole movie waiting to hear the one word, "Yes."

But Sybilla is not to be pinned down. She feels a sense of her own destiny, and giving that over to a marriage before she's 20 is not even conceivable for her. She wants to write, and her passion to do so is motivated by the deep compassion and despair she feels for the strong, beautiful, loving and prickly but lovable people of her harsh country, whom she sees as wasting their lives in an endless toil of day-to-day labor that she finds both noble and pointless. Her mother's early fade to old age, in stark contrast to her sister, who, having stayed behind with their mother, is still gorgeous and healthy, much to Sybilla's surprise (the difference between the two is emphasized by some cross-cutting). We see how life as a farmer's wife in the harsh Outback, working round the clock, having (and burying) baby after baby, has stretched her mother to a thin, exhausted shell of her former self. This grieves Sybilla, though she also is filled with admiration for her. It's this duality of experience that is at the heart of the story.

Sybilla's grandmother, elegantly played by Aileen Britton, is a gentle woman with a steel backbone, who has, in her own way, survived a challenging life despite the appearance of ease. She and her (other) daughter Helen, set out to transform Sybilla from wildcat to elegant young woman, combing out a mane of hair we would not see again until a few years later when Helena Bonham Carter showed up in "A Room with a View," giving her facials, teaching her to walk and talk like a lady, and trying (mostly in vain) to make this transformation more than skin deep.

As much as Sybilla enjoys the experiences of her new life, she doesn't lose any of the strength with which she was born and which was nurtured on the farm, and when she goes back to her family home she is as much at ease pulling a stuck cow out of the mud as she was in her grandmother's drawing room. Harry finds her here, watching in bewildered admiration from a distance in his perfect clothes and coiffed hair, and again their differences are underscored. It is nearly impossible to see them together, as one can't help but feel that to entirely give up this life would diminish her, yet neither do we want her to live alone and unloved. We are as conflicted as she is.

After a long time in the idyllic home of her grandmother, and after asking for and receiving Harry's promise that he'll give her two years to figure out what she wants and who she is before marrying him, Sybilla is forced to leave in order to work as a governess to pay off her father's debt. She is at first discouraged and resentful (particularly as the family lives in filth and ignorance, yet represent a greater economic health than her own fathers's), then falls in love with the family and gives them everything she has. There's a wonderful scene where she reads to them a story, printed on the newspaper the family has papered the walls with (to keep out the nighttime cold); she runs from paper to paper in search of the next chapter, the whole family mesmerized by her energetic and theatrical reading of the story. There is a wonderful irony in this section, which I will not give away here, but she is sent home, and it's this which leads to her to her return to her father's farm, where Harry finds her, and asks her to marry him. But Sybilla still can't promise--she has decided to become a writer, and begs for Harry's understanding. It's a heartbreaking scene between a strong woman, capable of great love yet unable to yet give up her independence, and a warm, good man who neither wants to compromise the woman he loves, nor his own love for her.

Throughout her adventures, she never loses sight of her goal, and by the end, her pencil-written, painstakingly produced manuscript (several inches high), is mailed off to a London publisher.

Franklin's book was published, and though it was out of print for a long time, I was lucky enough to find a 2nd hand one in a used book store. But perhaps the release of the film onto DVD will stimulate a new printing of the book, too. I recommend it as well. Her writing is down-to-earth and compelling, and clearly fulfilled her goal--she brings to life the people of her country vividly and with great respect and admiration. Both Armstrong and Davis seem to understand and respect how deeply the character of Sybilla lives, and work hard to bring her fully to life. So successful are they that poor Harry Beecham seems really too anemic for her--she lives so deeply that Harry's sheltered life has not grown him up to be as strong and complex as she is. This connundrum haunts her throughout the story.

"My Brilliant Career" was the first film I saw when I moved to Berkeley in 1980 to become a filmmaker, and it was certainly an inspiration. To be able to bring such characters to life and, more importantly to the screen, gave me hope that the art of cinema was still alive and well, despite the massive changes brought about in this country by the new "blockbuster" phenomenon. It was a small film, seen by lovers of cinema first, then, after word of mouth, by everyone, including the Academy, who nominated it. Of course, it had won many Australian and European awards already.

This little film launched three important careers, Judy Davis', Gillian Armstrong's, and Sam Neill's. For these careers, all brilliant, we should be grateful. That it's also a great work of cinematic art is a fabulous bonus, that now everyone will get to appreciate. It was a long wait, but worth it.

It only took a decade. My Brilliant Career is FINALLY on DVD!!! It is a quiet tour de force of good acting, beautiful art direction and cinematography, a wonderful story about a writer coming out of girlish egotism to join a larger world and form a vision, and an intriguing picture of Victorian Australia among the immigrant society. Judy Davis is sparkle and tang playing the volatile Sybilla, very molten as she fires, cools and then erupts like any young adult. Sam Neill, aside from being very effective eyedrops that reminds you of Gary Cooper or Alan Bates, swaggers and holds fast as her suitor, being a willing foil to unpredictability. There are accomplished supporting performances that paint her story with pathos, a lot of humor with the steady understanding of the importance of family love. In the spirit of a time when passions were to be restrained and redirected into more interesting pursuits, My Brilliant Career stays in character in this modern visual medium by presenting passion in the guise of mischievous boat rides and a pillow fight for the ages. You'll feel the panic of dust blowing mercilessly through the windows, parental anxiety, teenage anxiety, affection in the muddiest and wealthier places, and the frustration of love. It is edifying enough to glimpse into that time as a history or anthropology lesson, or you can just sit back and let it entertain.

I first saw this movie on double bill following Night of the Shooting Stars (by the Taviani brothers) at a movie theater in Washington, D.C. It was like eating really good lasagna with a really good apple pie. You have to really focus on each film and not think about them together. A better partner to My Brilliant Career would be Pricilla, Queen of the Desert, Man from Snowy River, or Lantana. You could also have a Judy Davis film festival by watching it with Husbands and Wives, Impromptu, or that film she did about Judy Garland. For a Sam Neill film fest, watch the Reilly Ace of Spies series, The Piano, Plenty, or Cry in the Dark. Or, you can watch it by itself, like a piece of really good apple pie.

Buy My Brilliant Career (1979) Now

What's to say about "My Brilliant Career" that hasn't been said already? A superb first effort for then up and coming actors Judy Davis, Sam Neill, and director Gillian Armstrong. Those 3 are truly living up to the title of the film.

In answer to the previous reviewers here on Amazon.com, true that the film isn't available on DVD or new VHS for that matter in the USA. I heard there was a problem with who had the rights to the film in the last 10 years. Supposedly, some Panamanian company acquired the rights inadvertantly with a package of forgettable Aussie films. Margaret Fink, the producer, said she nearly dropped dead when she heard this. Fortunately, Fink and Australia reacquired "My Brilliant Career" in the last couple of years through legal means. That's why "My Brilliant Career" has already been released on new DVDs in the UK and Australia. I bought the Australian DVD because of the widescreen presentation and DVD extras that it has which include a great commentary by Gillian Armstrong as well as short interviews with producer Margaret Fink, Gillian Armstrong, film footage from Canne with Fink, Davis, and Armstrong, and more. It cost me about $23 (includes shipping from Australia) for a brand new DVD which is a bargain compared to how much used tapes go for on ebay. The UK version is cheaper but has no xtras I think. These region coded 2 or 4 DVDs will not play on a typical DVD player sold in the USA, but you can easily find certain DVD players sold at Bestbuy, Target, computer stores, etc... that can be made multi-region (region free) so they can play any DVD in the world. I bought myself one particular brand/model for $50. If you don't want to buy a region free player, you can also play foreign DVDs on your computer DVD-ROM drive easily.

Hopefully, one day "My Brilliant Career" will be released in the USA in glorious DVD. The film has been broadcast on cable channels in the USA in the past year. Which could be a sign it will end up on DVD here eventually. Perhaps similar to how "Impromptu" appeared on cable, then a year later it was released on DVD. Cross your fingers!

Read Best Reviews of My Brilliant Career (1979) Here

This is really a treasure of a film. It is definitely one of the best depictions of a young woman who breaks away from the norm to follow her own calling life. The young woman who does this is Sybylla Melvyn (Judy Davis), a headstrong, self-possessed young Australian woman from the Bush, whose parents no longer have money to keep her and send her to live with her grandmother. Sybylla, who comes from little money, previous charm school training or "traditional refinement" in her home is in for a culture shock when she meets her grandmother and aunt, who are both refined and quite traditional in their beliefs about what proper women ought to do. Proper women should marry, abandon thoughts of independent living, and must remain at the beck and call of their husbands. This is not the life Sybylla imagines for herself. She is actually an outspoken, self-directed writer, with more than a glimmer of spunk and mischief in her eyes. Sybylla also knows she isn't "conventionally beautiful." This doesn't stop two suitors from trying their luck with the spunky young woman. The first is Frank Hawdon (Robert Grubb), an upper-class, uptight and arrogant man who works for her grandmother and picks her up at the train station. Sybylla lets him know in no uncertain terms that she doesn't return his affections. The second suitor is Harry Beecham (Sam Neill), a young man who starts out as "mates" with her, participates in a good-natured pillow fight with "Syb" and ends up with feelings for her that run deeper than friendship.

This is an excellent period piece, set around circa 1900 in Australia, at a time where the opinion of women and their place in society was undergoing serious ruptures and transitions. Sybylla is a product and example of that rapture, and is truly an inspiration for any young woman who challenges convention. Judy Davis is masterful in her role and the supporting cast is equally engaging. Well done!

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This my favorite film of all time. I've seen it countless times and hope to see it many times more, and share it with my daughter in a few years.

Judy Davis is electrifying as a young woman trying to find her place in the world. Sam Neill is sweet and understated as her would-be lover. Gillian Armstrong's direction is flawless. And the Australian scenery is a character in its own right.

I keep hoping this beautiful film will be re-released on the big screen, or at least on DVD. Don't miss it.

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Score (Uncensored Version) (1974)

Yowza! "Score" is a product of it's times, the early 1970's, and it explores the sexual freedom spreading through society during that period with great insight. But be forewarned, the uncensored version took me by surprise. Radley Metzger adapted a New York City stage play about multiple seductions and transposed it to a Mediterranean setting. The acting, the camera work, and the setting combine to make a great looking product, without a doubt the best 'sexploitation movie' I have ever seen, and I've seen a bunch.

"Score" is a fast paced comedy about the interactions between two couples, and things eventually get pretty down and dirty without ever being X rated. Even better, the Blu-Ray looks magnificent, and there is a long interview with actress Lynn Lowry, behind the scenes footage featuring Radley Metzger in action on the set, and best yet an audio commentary by the reclusive director, all items alone worth the price. But the icing on the cake is that the movie is finally uncut for the first time in over 35 years.

I have seen the VHS of 'Score" and it was obviously the censored version. The interplay of dialogue and characters was there, but 15 minutes of man-on-man love making was missing. While not explicit, it is pretty graphic and I was shocked. If you are a homophobic male or think such images might upset you, STAY AWAY! However, if you truly want to see the 1970's swing in all directions, this is the best possible movie available in terms of acting, script, and direction.

Radley Metzger is generally considered the one true auteur of the sexploitation movies, and he consistently produced superior work even after drifting into porn. "Score" is perhaps his best work, literate, funny, and incredibly daring. Even 38 years after it was shot it still caught me off guard! If this sounds interesting, you can find no better document of the Sexual Revolution than 'Score".

Score is a bisexual delight. Based on a simple premise--a happily married swinging couple makes a bet that they can seduce a newly-wed couple--Score blurs the lines between established sexual norms and takes you to a moment in time where love and sex cross conventional boundaries. Based on a late 1960's play, Score is a microcosm that shows a world where the freedom to love or make love to whomever you want is the norm. With the onset of AIDS in the 1980's, however, the world in which Score depicts was forced to change. Viewing Score is the equivalent of going back in time to a much different place than the world is today where the prejudices that divide gay and straight were clearly dissipating.

Score should appeal not only to Radley Metzger and gay cinema fans, but to a wider audience who are looking for the interplay between saucily-written dialogue, clever cinematography, and on-screen chemistry between: men and women, women and women, and men and men. Score is a sexual banquet sure to satisfy almost every appetite.

The DVD transfer is fine albeit imperfect, the sound could be improved, and the special features are worth viewing, but the real reason to get this DVD is to enjoy the uncut version of Score for the first time since it originally played in a few cinemas in the 1970s.

Buy Score (Uncensored Version) (1974) Now

It shouldn't be bought, not because is bad but because is heavily censored some 30 min missing and because those people they beleive they have the right to treat the customer like an ignorant and immature child should take a message. It is offending to our intelingence and dignity to be supervised by an invisible censor who desides before us , for us what is good to see and what is not. Myself i don't accept to be treated like that and i encourage everybody to avoid buying censored products as offencive to our intelingence and that of the creator artist. Is a phaenomenon that should be eliminated and it will be if our behaviour as customers is sensitive. Apart from that is of a little importance if the film is good or not. Yes it is ! so what?

Read Best Reviews of Score (Uncensored Version) (1974) Here

***This is a review of the uncut, uncensored blu-ray.

I've been a fan of this film for a while. In the previous video releases, there have always been awkward cuts where the music is horribly out of sync. This new blu-ray release seems to indicate that it is now "uncut and uncensored." I can't vouch for its completeness, but the music cues now seem in check, and there are several "new" scenes that were not present in previous video versions. The new hardcore gay and lesbian scenes are graphic but are not anything that I have not seen in other "mainstream" releases (although mostly independents). The best thing, though, is that the film now "flows" better. The blu-ray does not feature a good print; it's scratched and full of dirt and debris. Colors are good; one of the male characters wears a red handkerchief which pops on screen. The audio is a disappointing Dolby Digital 2.0 mono; early news reported a DTS-HD MA 2.0, but that is not present here. Audio is below average, and sometimes seem out of sync, but that is probably inherent to the original print and not necessarily a flaw of the blu-ray. There are several bonus features that showcase original footage from the filming but the best feature is an interview with Lynn Lowry; she is 60+ years old but looks amazingly like she did when the film was made. The included trailer is great but it's too long and should not be reviewed before watching the main feature.

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SCORE

(USA/Yugoslavia 1972)

Aspect ratio: 1.85:1

Theatrical soundtrack: Mono

Having explored familiar heterosexual obsessions in well-regarded softcore dramas like CAMILLE 2000 (1969) and THE LICKERISH QUARTET (1969), director Radley Metzger upped the sexual ante with SCORE, a good-natured bisexual romp which crosses the boundary into hardcore territory, recently poularized in US theaters by the likes of DEEP THROAT and THE DEVIL IN MISS JONES (both 1972). Based on a play by screenwriter Jerry Douglas, SCORE tells the tale of swinging couple Claire Wilbur and Gerald Grant, who make a bet that they can seduce freshly-scrubbed newlyweds Lynn Lowry and Calvin Culver during a weekend get-together at their luxury Riviera villa. Having plied the hapless duo with drink nd soft drugs ("I'm not a very good junkie!" Lowry complains) and dressed them in costumes which tally with their sexual fantasies (cowboy, nun, sailor, etc.), Wilbur and Lowry pair off for a lesbian encounter, while Grant and Culver descend into the basement bedroom for a full-blown gay seduction.

Artfully photographed by Metzger himself and veteran cinematographer Franjo Vodopivec on location in Yugosalvia, and framed as an adult fairy tale (the delightful opening narration locates the action "...in the lush little land of Plenty, in the enviable state of Affluence... deep within the Erogenous Zone"!), the movie is distinguished by clever dialogue which removes outmoded notions of sexual parameters from the outset. When asked how she differentiates between sexes during the orgies she's attended in the past, Wilbur replies: "First you don't know, then you can't tell, then you don't care!"

The plot is wafer-thin, and the acting is merely OK (the women fare best in this regard), but Douglas' script played out for the most part in a single interior set, with only a handful of outdoor sequences allows Metzger to build slowly and surely to the climactic double seduction, using reflective surfaces (amongst other devices) to convey sexual dualities within the characters. Viewers hoping for a non-stop flesh-fest may be irritated by the long narrative preamble (punctuated by Wilbur's rough-house tumble with studly repairman Carl Parker), but there's still plenty of uncompromising nudity, and the film manages to stimulate the brain whilst simultaneously tickling your, er... fancy. Great music, too, including an ultra-groovy (and uncredited) theme song!

Unfortunately, the most widely-circulated print which bears a 1976 copyright is the softcore version. Metzger reportedly prefers this cut of the film, but the all-important sex scenes are seriously compromised by jarring edits and obvious gaps in the soundtrack. The film remains a worthwhile curio, but its erotic potency has been severely blunted by unnecessary censorship.

Fascinating trivia: 'Calvin Culver' is actually gay porn star Casey Donovan, who made his name in groundbreaking titles like BOYS IN THE SAND (1971) and THE OTHER SIDE OF ASPEN (1978), though he later re-temaed with Metzger for the director's hardcore masterpiece THE OPENING OF MISTY BEETHOVEN (1976). Co-star Gerald Grant only appeared in two other films (Metzger's NAKED CAME THE STRANGER [1975] and Umberto Lenzi's EATEN ALIVE [1980]), and it's sad to report that both he and Donovan have since passed away. Claire Wilbur featured in the original stage version of SCORE, but her only other screen acting credit appears to be TEENAGE HITCH-HIKERS (1974), while the beautiful Lynn Lowry has since pursued a career in mainstream movies, including THE CRAZIES (1973), SHIVERS (1975) and CAT PEOPLE (1982). Writer Jerry Douglas adopted the pseudonym 'Doug Richards' and made a name for himself in gay porn, writing and directing a number of celebrated productions, including THE BACK ROW (1973), BOTH WAYS (1976) and MORE OF A MAN (1991), the latter featuring Joey Stefano and Chi Chi LaRue, while SCORE's production manager Branko Lustig has since become a major Hollywood producer, with titles like SCHINDLER'S LIST (1993) and GLADIATOR (2000) to his credit!

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South Park: Bigger, Longer & Uncut (1999)

Simply amazing. You can say that it is nothing but fart jokes and toilet humor, but it is so obviously much more than that. What Trey Parker and Matt Stone have done is created one of the most thought provoking and clever comedies of all time and the greatest musical of the decade. Not only is it truly hilarious, it is also one of the most controversial movies of all time. It is mocking the hypocrisies of the MPAA and the average American parenting, as well as many other countless subjects. Not that it isn't a bad thing :) I would have rated it the day I saw it, but I decided to look it over more carefully to see all the undertones that it contains. It is also a great musical. With the help of Marc Shaiman, Trey has created greats like "Mountain Town", the infamous "Uncle F**ker", the Oscar-nominated "Blame Canada", the Les Miserables parody "La Resistance Lives On", and the Disney-based "Up There". However, it is definitely not for children and actually holds the world record for the most profanity in an animated movie, with 399 swear words, 221 acts of violence, and 128 offensive gestures. This wanton swearing is objectionable, but that aside, this is one of the greatest movies of all time, and not even the angry parents can deny it.

For some reason, I can't sit through a half-hour of the South Park TV show. I enjoy it well enough, but it never really holds my attention. The humour always seems stunted on the small screen, very ribald but always in an inconsequential way. Well, free from the restrictions of television, Stone (no relation) and Parker have made a tremendously funny companion movie that manages to weave social satire using thread made up of curse words. And surprisingly, it became one of my favourite movies in recent memory.

And not to be forgotten, but it's a damn fine musical as well.

From the opening refrain of 'Mountain Town', it quickly becomes apparent that the satire will be witty and tight, parodying Broadway musical standards for their own twisted purposes. But the whole thing takes a wicked left turn with the infamous song 'Uncle F**ka' (I truly despise having to put the asterisks in, but then I guess that's the kind of thing this movie is railing against). It's a nonsensical, roll-on-the-floor-laughing, swearing-for-swearing's-sake song from the movie-within-a-movie starring Terrance and Philip. And it throws down the gauntlet for all that is to come.

The remaining songs are all perfectly placed parodies, which serve to advance the narrative, provide character development, and serve up more opportunities for poopy jokes. All noble causes, I'd say. Favourites include 'Kyle's Mom is a B**ch' (which if you listen close enough, is actually quite poetic), and 'What Would Brian Boitano Do' (or WWBBD, in which the 1988 Olympic Champion is held up as an all-knowing superhero). And of course, the closing credits contain a soulful, sincere performance by Doobie Brother Michael McDonald of 'Eyes of a Child' ("Sure, life is kind of gay/But it doesn't seem that way/Through the eyes of a child") that spoofs the drek David Foster and Diane Warren regularly churn out.

Special mention should be made for 'Blame Canada'. Any true Canadian knows who the target of that one is, no?

The brilliance of this movie, it appears to me, is that Stone and Parker figured that the only way to top their TV show would be to up the ante with the movie. Thus we get Saddam Hussein as a butchy homosexual lover of Satan, the execution of Bill Gates, and of course 'Operation Human Shield' in which all the black residents of South Park are not only expected to shield their white army mates from Canadian attack, but are strapped to the tanks as well.

And of course there's the swearing. I read somewhere that this is the movie with the greatest proliferation of cuss words. Well, bravo I say. Bring your grandma and your kids, cause in the end all that swearing actually makes a very powerful point. And Cartman's final coup de grace -in which his cussing actually saves the day -is as good a condemnation of the censorship of speech as anything this side of Newspeak from George Orwell's '1984'.

Buy South Park: Bigger, Longer & Uncut (1999) Now

Ok, ok, this is one of those guilty pleasures. I have to admit that I hate listening to people swear, think the animation in South Park is unbelievably lame, don't care what happens to Kenny and I like Canada (well, sort of.) So what makes this film so funny?

Probably the over-the-top raunchiness that characterizes all South Park. The first time someone played a tape of the cartoon for me, I was gasping with laughter and had to rewind the tape to catch the stuff I was missing while I was convulsing on the sofa. (It was the 70-foot satellite dish issuing forth from Cartman's posterior that caused me to nearly lose consciousnes.)

A little bit of vulgarity is annoying. Somehow, a ton of it, big heaping gobs, is hysterical. When you get to Terrence & Phillip's song number in their "film within a film" you will know what I mean.

There's not only a lot of Terrence & Phillip (Canada's hottest action stars) but also a catchy, Academy-award nominated theme song (Blame Canada) and a very funny Satan who finds Saddam Hussein just a bit insensitive and uncaring.

I laughed hysterically through the entire film. If you like South Park, the full-length movie will not disappoint you in any way.

Read Best Reviews of South Park: Bigger, Longer & Uncut (1999) Here

This movie takes all of society's politically correct garbage and puts it in its rightful place the trash. This brilliant musical with the South Park characters tells it like it really is. Poking fun at censorship, racism, religion, Les Mis, and Saddam Hussein along with other topics too numerous to mention, this movie will have you crying from laughter. If you have any type of education (and sense of humor) you can't help but appreciate the movie not only for it's over the top antics but it's well thought out message(s) and underlying themes.

However, if you are easily offended by cursing or can't handle reality stay as far away as possible and go back to the mindless safety of Disney.

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I missed this when it was on the pictures over here in the U.K., so I thought that I'd try the DVD. What a laugh. I've been watching the series from episode one. To be honest, I thought that it was starting to get a bit boring.

This film re-instated my enthusiasm for the whole South Park thing. If you like or have ever have liked the series, then I guarantee that you will love this film.

If you can find humour in foul language, sex, death, pornography and politically incorrect satire, then this fella's for you.

If you don't like South Park or you're easily offended by... Foul language, sex, death, pornography and politically incorrect satire then you would be wise to give it a wide berth.

It's easy. If you like South Park or that kind of humour then you'll absolutely love this film.

If you don't like this kind of stuff, then don't bother, because it will offend you, with ease.

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High Noon: 60th Anniversary Edition (1952)

Lionsgate has announced a new DVD release of High Noon with new special features. There is what appears to be a reliable report, though unconfirmed, that it will include a new transfer of the film, restored by Paramount. The current and older DVDs are only of average video and audio quality.

This a true classic, combining traditional Western themes with contemporary concerns about popular acquiescence to evil, done in a gripping, unusual (nearly real-time) way, with great actors.

Town marshal Will Kane (Gary Cooper) is caught between his new pacifist Quaker wife Amy (Grace Kelly) and a felt duty to face down evil men coming on the noon train to take revenge on him (and presumably cause whatever other trouble they please). Most of the drama takes place in the lead-up to a climactic battle, as the townspeople choose whether to support Kane with action or to let him stand alone. Amy too must choose between her spouse and her own moral beliefs. The tension builds relentlessly as we see clocks ticking towards noon. The innovative black and white cinematography emphasizes the dramatic points, while the internal drama is captured in Cooper's face.

The new DVD features are these:

-"Inside High Noon," a 50-minute documentary on the making of the film (see below for more on this)

-"Tex Ritter: A Visit to Carthage, Texas," on the Tex Ritter Museum

-the full performance of "Do Not Forsake Me, Oh My Darlin'" from the Jimmy Dean TV Show

The features carried over from the current release are:

-commentary with Gary Cooper's daughter Maria Cooper Janis, screenwriter Carl Foreman's son Jonathan Foreman, director Fred Zinneman's son Tim Zinnemann and Tex Ritter's son John Ritter

-"The Making of High Noon" featurette

-"Behind High Noon" featurette

-radio broadcast with Tex Ritter

Whether the new features will warrant an upgrade is a matter of personal preference, of course. A 50-minute documentary could be quite interesting, if it's well done.

It does sound interesting. The "new" documentary, actually made a couple years ago but shelved until now, is by film and Gary Cooper expert John Mulholland. It's expected to cover, among other things, the conflict between Cooper and John Wayne over the participation of the blacklisted screenwriter Carl Foreman. Given that the film is intended in part as an allegory of the public's acquiescence in the Red Scare, this will have more than the usual gossipy behind-the-scenes relevance. It includes interviews with three of the children of the principles who participated in the DVD audio commentary: Cooper's daughter Maria, director Zinneman's son Tim, and Foreman's son Jonathan. There are also interviews with Grace Kelly's son Prince Albert of Monaco, Western and film historians Brian Garfield, Lee Clark Mitchell, Stephen Prince and Meir Ribalow, and High Noon fan President Bill Clinton. The narration is by actor Frank Langella.

Lack of agreement between Paramount and Lionsgate prevented the earlier release of a restored transfer and the documentary, in case you're wondering why this didn't come out before.

(Amazon has a habit of removing or not even accepting outside links, but if you want to read more about this, some of the more interesting tidbits are from a discussion at hometheaterforum. Just do a web search for "high noon" plus "ultimate collector's edition" or "inside high noon" and such keywords to find the links--easy to find.)

A parting note on the ethical side of the film. While everyone can appreciate the strength of Cooper's character and the contrast to the weakness of others, which is no doubt the intended moral focus, we can wonder why the seemingly parallel choices facing Will and Amy are treated differently, with one portrayed heroically for choosing perceived broader duty over duty to spouse, while the other is seemingly approved in doing the opposite (those who have seen the movie will be able to see how that is). I'm not sure writer Foreman saw that parallel as I put it here, and maybe there are good reasons to argue they aren't really parallel. It could be a statement about the limits of pacifism, or it could be a reflection of other cultural mores that Foreman didn't question. Or it could be largely motivated by the need for a certain kind of ending. I'm not a film historian, so maybe these questions have already been addressed. If so, feel free to leave a comment about it.

"High Noon" is frequently mentioned among the best Westerns and even among the best films ever made. It is rated #33 by the American Film Institute on their top 100 of the 20th century. It was nominated for seven Academy Awards and won four, including best actor for Gary Cooper, best song and best editing. But, was it really that good? After all, it was a bare bones black and white Western in an age of Technicolor spectaculars.

It was that good and more. "High Noon" was not really a Western as the genre had been defined to that point. It was more of a character study of the human condition. It just happened to be set in the American West. Westerns at that time were action films with white hats and black hats. There were fistfights and gunfights throughout the entire film. They clearly differentiated good guys, on the side of justice and righteousness, from bad guys who spurned laws and sneered at those who obeyed them. The heroes were always noble and fearless, typified by actors like John Wayne and Roy Rogers. Moreover, the good guys always stuck together, despite all odds, to prevail against the outlaws.

"High Noon" was the complete antithesis of this formula. Kane is a flawed hero who is proud to a fault. Although it is clear who the villain is, we never see him until the last ten minutes of the film. The story is not about good and evil in the larger sense. Instead, it is about conviction and integrity on a personal level. Kane is portrayed as stubbornly putting his own feelings above the safety of the town. He stands against everyone, willing to sacrifice his marriage, his friendships, his good name and his life for his honor and self-respect. The biggest departure from the formula was his unabashed manifestations of fear. This was unheard of for a Western hero.

Controversy swirled around this film, released in 1952 amid the Red Scare and the McCarthy Era. The fearful and selfish townspeople who turned their backs on Kane were seen to be allegorical of the movie industry that abandoned those who were blacklisted as communists. Many in the industry saw it as smug slap in the face. John Wayne called the film "un-American", preferring to think that Americans would always stick together to fight injustice, ignoring the reality of numerous branded actors who couldn't get work. Stanley Kramer, in an interview forty years later, continued to deny that there was any hidden agenda. He said it was a film about human nature, and the coincidental fact that there was such a striking parallel was just an indication that human nature doesn't change.

The vanguard direction by Fred Zinnemann was nothing short of brilliant. Zinnemann eschewed the Western formula and struck out in a completely different direction. He chose black and white to give it a stark look. The sky was overcast rather than sunny and blue. The entire film was shot for only $700,000 (an extremely small sum even for 1952) almost completely on a studio lot. This was the first Western, (and possibly the first film) to tell a story in real time (the story transpires in roughly the same amount of time as the length of the film). The villainous Frank Miller (Ian MacDonald) was known only through dialogue and he did not actually appear until the end of the film. Zinnemann hung the pall of Miller ominously in the air like an evil spirit who was feared but unseen. This made the villain bigger than life and added to the suspense. Even when Miller finally arrived on the noon train, Zinnemann didn't let us see his face for a full two or three minutes, showing him strapping on his guns from behind and talking to his gang. Finally, there was no action until the very end of the film.

He uses two very effective techniques to build suspense. The first is the use of clocks. In the beginning of the film, they were small clocks in the background that had short pendulums that swung quickly. As we got closer to noon, the clocks got bigger and the pendulums swung more slowly making them more menacing. At noon, the clock took up the entire screen as we waited for the last tick and the train's whistle.

The second technique was the repeated use of a static vista looking down the railroad tracks from ground level with no train. This was a constant reminder that Frank was coming. This created an extraordinary amount of tension. Tinnemann's use of reaction shots and the editing by Harry Gerstad and Elmo Williams (who won an Oscar) were also brilliantly done.

The use of music was also innovative. Rather than a full orchestra pumping out heart pounding adventure music, we had a simple ballad featuring a harmonica and the voice of country great Tex Ritter. This haunting tune emphasized the loneliness of Kane's situation.

The acting was marvelous. Gary Cooper is masterful as the tormented Marshall who stands against the entire town and his own fear to face down the Miller gang. This film launched Grace Kelly's career. She was not only shockingly beautiful but gave a fantastic performance as Kane's wife, who all but abandons him. Lloyd Bridges also shines as the hotheaded deputy. Other notables included Lon Chaney, Harry Morgan, Katy Jurado and Lee Van Cleef.

This film redefined an entire genre. It has been called the quintessential Western, but that is too narrow in its praise. It is quintessential filmmaking, a perfect 10. It is required viewing for film buffs who appreciate the creative aspect of the art. Besides that, it's great entertainment.

Buy High Noon: 60th Anniversary Edition (1952) Now

High Noon is a classic tale of a man who is torn between his duty and love. Gary Cooper stars as Will Cain, a sheriff of small town Hadleyville, NM, who has just gotten married to Amy played by Grace Kelly. Amy is a Quaker and in deference to her pacifist beliefs, Will is turning in his badge. But just as the newlyweds are preparing to leave town for a new life, Will learns that a criminal, Frank Miller, he put behind bars is being paroled and arriving in town on the 12 noon train for a showdown. Tension fills the air as the anticipated showdown draws closer. Amy begs for Will to leave with her, but he knows he can't run away. He must stay and defend the town and his honor. Will finds himself alone in the battle as everyone in town, including his deputy sheriff Harvey Pell, played by Lloyd Bridges, have turned away from him. The film is just a little over 80 minutes long and it unfolds in essentially real time on the screen. Director Fred Zinnemann effectively uses clocks to convey the time ticking away towards the battle. The movie is filled with tension as the showdown draws near and Mr. Cooper brilliantly plays his part for which he won his second Best Actor Oscar. Tex Ritter, John's father, sings the Oscar winning song, "Don't Forsake Me" which perfectly captures the essence of the film. High Noon is not only a classic western, but a classic American film.

Read Best Reviews of High Noon: 60th Anniversary Edition (1952) Here

This movie is more than 56 years old and yet it is still relevant and enjoyable today as it undoubtedly was back in those days. This is because the themes are recurring and just as it was then, it is still the same now with regards human nature. The parable of the Good Samaritan covers it and so does this wonderful classic film about the sins of omission being just as bad as sins of commission. Is it okay to let a man go to his death because it is none of your business or is it just as good as if you had pulled the trigger yourself? Here, Gary Cooper plays a very capable marshall who has managed to selflessly keep his town safe but when it comes to the marshall himself needing some help, the townspeople make up excuses to avoid putting themselves in danger when the marshall himself had been doing this on their behalf for years. How often do we commit sins of omission ourselves by making excuses to not do the right thing? This sad and sorry aspect of human nature was present in the parable of the good samaritan, this film and will probably continue to exist today and ever after.

Cooper's performance is brilliant and he thoroughly deserved his Oscar for this film. People confuse courage with having no fear which is a mistake. Courage is doing the right thing especially when you are afraid and to do so the more afraid that you are, the more courageous you are. To have no fear ever is not courage but insanity. I especially love the part when Cooper admits to Bridges that he was afraid and yet continued to do the right thing. There are lots of lessons here that we can all learn that are timeless and for this reason, this film will continue to be a classic and relevant for ages to come.

The only problem is with the DVD; the special features consist of a good but not great documentary concerning the making of High Noon. Although the sound has been THX mastered, the sound quality isn't noticeably much better and could have used a Dolby Digital 5.1 surround treatment or better. The picture quality is not very good either with imperfections ala white spots and vertical lines every couple of seconds or so of footage. Although I've seen worse picture quality on other dvds, you'd expect better for a classic film like this one. Here's hoping that with the advent of Blu-Ray, they will take advantage of the opportunity to properly restore the picture and improve the sound quality options.

Great must-have movie in any film buff's library but you may want to wait for a much better restored version either in Blu-Ray or standard format.

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This is the quintessential Hollywood western. It will continue to represent the genre for many decades to come.

It stars Gary Cooper, one of the most beloved of leading men who personified soft-spoken heroic courage in scores of important films, including Beau Geste (1939), The Pride of the Yankees (1942), Along Came Jones (1945), The Court Martial of Billy Mitchell (1955), etc., and Grace Kelly in her debut role. Directed by Fred Zinneman, whose credits include From Here to Eternity (1953), A Man for All Seasons (1966), Julia (1977) and a dozen more, High Noon tells the story of Will Kane, a small town marshal who, on his wedding day faces a man just let out of prison with three of his outlaw friends who are aiming to get revenge for his being sent up.

The enduring image of the film is Gary Cooper walking tall in the deserted streets of the town in a black Western hat, a black vest, long-sleeved white shirt, black string necktie, watch chain, boots, and low slung holster and two belts, while off to the side inside the wooden buildings we see "that big hand move along, nearin' high noon"--which is when the train arrives carrying the freed prisoner.

Will Kane has cleaned up the town, but now the gunslingers return and he is their target. His wife of less than an hour (Kelly) demands that he leave town. The town itself, in fear of the gunmen, also wants him to leave town, hoping to take the fight away from them. He tries to recruit deputies but everyone is afraid. Even his lone deputy (Lloyd Bridges) deserts him. In the background is Dimitri Tiomkin's haunting ballad, sung by Tex Ritter: "Do Not Forsake Me, Oh My Darling (On This Our Wedding Day)." Both Cooper and the song won Oscars. Noteworthy was the fine performance by Kay Jurado as ... Ramirez, Cane's ex, a shrewd barroom lady and proprietress.

What is interesting about the moral conflict (from the story, "The Tin Star" as interpreted for film by screenwriter Carl Foreman), that of facing your enemy rather than running, is that Kane's rationale is logical. If he runs they will only come after him again and again. Only two people get this, Kane and Ramirez. The larger moral issue of whether to fight to defend yourself (Grace Kelly is cast as a Quaker and does not believe in killing) is resolved during the climatic shootout by Grace Kelly's character herself in a manner that did not set well with Quakers.

How well does this black and white classic Western play today? The town people seem cliches and the outlaws are quickly drawn, but Gary Cooper as Will Kane seems entirely believable, admirable, heroic in the best sense of the term as a man who knows the dangers, feels the fear, and yet must act, and he does. He is no shallow, two-fisted, machine-gun hero so often seen in Hollywood productions, but a man of maturity whose "grace under pressure" (a fine definition of courage) tells us and himself who he really is.

See this for Gary Cooper whose "slow-talking, slow-walking," (lyrics from the Coaster's hit song from the fifties, "And Along Came Jones"), and soft-spoken heroics delighted and enthralled a couple of generations of film-goers.

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Wake Wood (2011)

Reviving the legend of Hammer films certainly seemed like a great idea. Renowned for their creepiness and monster mayhem, Hammer was one of the most influential horror players in the film industry for approximately four decades (most relevantly, perhaps, in the fifties and sixties). Their 1958 version of "Dracula" with Christopher Lee is still considered by many to be the definitive film version of this oft told tale. Well, Hammer is back in the game! Their first release was the contemplative vampire remake "Let Me In," a terrific film that owes far more to its Swedish predecessor than to the mystique and allure of Hammer. Their follow-up film "The Resident," however, is pure Hammer--unfortunately, it's late period schlock as opposed to something that's going to reinvigorate the legend. Finally, with the creepy "Wake Wood," we've got something that represents the Hammer name and legacy in a recognizable way.

I must, however, be slightly cautious in my recommendation of "Wake Wood" as to announce it as a pulse pounding horror thriller might be setting up false expectations. The film is most effective at establishing an unsettling vibe and mood--it's an atmospheric film that owes far more to realistic and believable performances than to outrageous scares or gore. Don't get me wrong, there's plenty of blood--but what really provides the tension in the film are the strong and sometimes fearless performances of leads Aiden Gillen and Eva Birthistle. Birthistle, in particular, is astoundingly heartfelt--aggressive when necessary but always accessible and vulnerable. After the unexpected death of their daughter, the couple struggles to cope. Moving to a new, and noticeably odd, new community--they are growing ever more distant. But the town holds a secret and it might just make them a whole family once again. But be careful what you wish for! Tampering with life and death is not for the faint hearted and the repercussions of their decisions begin to have horrifying consequences.

In truth, there is nothing spectacularly new or original in the film. The creepy town that unites for ritualistic supernatural events has been covered countless times (including, but not limited to, two of my childhood favorites--The Wicker Man and The Dark Secret of Harvest Home). Also, the yearning for a lost child at any cost has been imagined in many ways. As the violence starts to spiral out of control--again, it all feels very familiar. But that doesn't mean that it doesn't work. I liked Timothy Spall as an offbeat town elder--much more slickly menacing than in his usual role choices. The effects are good. I'd certainly warn those who are put off toward violence to animals, it can be grim going in that respect. And I really enjoyed the tease of the ending. But ultimately, the real selling point of the film and what distinguishes it from the many other choices in the genre are those terrific lead performances. More creepy than horrifying, this is one well acted film! So I'm happy to welcome back Hammer films and see what else they have in store. KGHarris, 6/11.

Reviving the legend of Hammer films certainly seemed like a great idea. Renowned for their creepiness and monster mayhem, Hammer was one of the most influential horror players in the film industry for approximately four decades (most relevantly, perhaps, in the fifties and sixties). Their 1958 version of "Dracula" with Christopher Lee is still considered by many to be the definitive film version of this oft told tale. Well, Hammer is back in the game! Their first release was the contemplative vampire remake "Let Me In," a terrific film that owes far more to its Swedish predecessor than to the mystique and allure of Hammer. Their follow-up film "The Resident," however, is pure Hammer--unfortunately, it's late period schlock as opposed to something that's going to reinvigorate the legend. Finally, with the creepy "Wake Wood," we've got something that represents the Hammer name and legacy in a recognizable way.

I must, however, be slightly cautious in my recommendation of "Wake Wood" as to announce it as a pulse pounding horror thriller might be setting up false expectations. The film is most effective at establishing an unsettling vibe and mood--it's an atmospheric film that owes far more to realistic and believable performances than to outrageous scares or gore. Don't get me wrong, there's plenty of blood--but what really provides the tension in the film are the strong and sometimes fearless performances of leads Aiden Gillen and Eva Birthistle. Birthistle, in particular, is astoundingly heartfelt--aggressive when necessary but always accessible and vulnerable. After the unexpected death of their daughter, the couple struggles to cope. Moving to a new, and noticeably odd, new community--they are growing ever more distant. But the town holds a secret and it might just make them a whole family once again. But be careful what you wish for! Tampering with life and death is not for the faint hearted and the repercussions of their decisions begin to have horrifying consequences.

In truth, there is nothing spectacularly new or original in the film. The creepy town that unites for ritualistic supernatural events has been covered countless times (including, but not limited to, two of my childhood favorites--The Wicker Man and The Dark Secret of Harvest Home). Also, the yearning for a lost child at any cost has been imagined in many ways. As the violence starts to spiral out of control--again, it all feels very familiar. But that doesn't mean that it doesn't work. I liked Timothy Spall as an offbeat town elder--much more slickly menacing than in his usual role choices. The effects are good. I'd certainly warn those who are put off toward violence to animals, it can be grim going in that respect. And I really enjoyed the tease of the ending. But ultimately, the real selling point of the film and what distinguishes it from the many other choices in the genre are those terrific lead performances. More creepy than horrifying, this is one well acted film! So I'm happy to welcome back Hammer films and see what else they have in store. KGHarris, 6/11.

Buy Wake Wood (2011) Now

After a couple lose their only daughter in a horrible accident, desperation leads them to try occult means to bring her back. Unfortunately, things don't go according to plan, leading to horror, despair, and carnage. WAKE WOOD is a tremendously unsettling, atmospheric creeper w/ a gradually tightening sense of suffocating dread. It's also one of the best supernatural thrillers I've ever seen. If you enjoy stories like THE MONKEY'S PAW, PET SEMETARY, HELLBOUND (BOOK OF THE DEAD), or BOBBY from Dan Curtis' DEAD OF NIGHT (TV) anthology, then WW will make you smile w/ grim delight! Well worth owning...

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For a description of the plot, etc., read other reviews. I just want to give my thoughts on this movie...

This 2011 movie was recommended to me, so I had to see it. It's a very interesting, bizarre, and different Hammer horror movie. This movie marked Hammer's return to making movies. Ironically, it really doesn't have the same feel and atmosphere of the Hammer horror movies that were so popular in the 1950's, '60s, and '70s. Like the old Hammer movies, it's low budget, but this movie is a lot more gruesome and bloody than the goriest and bloodiest Hammer movies from decades ago. It's more in tune with what contemporary audiences want and expect from horror movies in general. In contrast, the new version of "The Woman In Black" (2012), also a Hammer movie, is more in tune with the old Hammer movies. However, I did enjoy "Wake Wood" and its bizarre plot, unique camera angles, and very different and unique musical score by Michael Convertino. I think the music is one of this movie's greatest assets. That and the camera angles and overall cinematography and feel. This is one of those movies where the viewer needs to suspend all disbelief and just accept the plot for what it is, weirdness and all.

Overall, this movie is definitely worth a look. I highly recommend it.

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WAKE WOOD is a Hammer Films production/presentation with Hammer CEO Simon Oakes one of the driving forces behind getting the film made. It's officially listed as an Irish/Swedish co-production and features location shooting in Donegal with some studio work done in Sweden. Together they make up the fictional town of Wake Wood where it is possible to bring the dead back to life...but only for 3 days. There is a surprising amount of subtext under the traditional storyline that gives WAKE WOOD added depth. A young medical couple (he's a vet, she's a pharmacist) lose their 9 year old daughter in a vicious accident. They relocate to Wake Wood without knowing the town's secret. Once they find out, they go through a special ritual involving the whole village in order to get her back. Everything is fine at first but then things go horribly wrong.

What makes WAKE WOOD so intriguing is how it combines elements of DON'T LOOK NOW with those of the original WICKER MAN while remaining an original film in its own right. At 82 minutes (minus credits), it's lean and mean with no wasted footage and has a wonderfully creepy aura thanks to atmospheric cinematography and a haunting, unsettling music score. All the acting is top notch especially Timothy Spall as the village elder and Ella Connoly as the ressurected daughter. The quality control on all the new Hammer films has been top grade but up until recently they have had trouble finding audiences in America. LET ME IN tanked, THE RESIDENT went straight to DVD as did WAKE WOOD. However Hammer's last effort, a remake of THE WOMAN IN BLACK with Daniel Radcliffe, has acheived worldwide success with a total gross of over $100 million.

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Bodacious Space Pirates 2 (2012)

Marika and her crew have overcome some major obstacles. Now, there is mysterious power in space. Pirates are being targeted and their ships destroyed all over the frontier. It also seems that the pirate hunters have inside information that allows them to know the location of the Bentenmaru at any given time. Marika must unite all the pirates in the frontier and confront this dangerous new. enemy.

After enjoying the first part of this series, I really expected it to come alive and blow me away in the second half. That just didn't happen. Most of the second part of this series was spent goofing off. The world created in this anime was obviously huge, and there was so much potential for a grand story. I expected something akin to Outlaw Star. I felt like it was going to achieve what Angel Links could not. It didn't live up to my expectations.

So far all I have done is talk about how it fell short. It wasn't all bad. The story is fun. It's very light hearted and easy to enjoy. The animation, voice acting, and soundtrack are all very good. This anime doesn't ever get too serious. That's not what it was shooting for. It was about space battles, girls in mini skirts with a dash of yuri thrown in there for the fans. I admit that I did enjoy this anime quite a bit, but I can't help wishing that it had been a little more serious. A little more drama would have done wonders for the story. I can't guarantee that this show is for everyone, but I do think it's a safe bet. If you want to be sure, I definitely recommend checking it out online via crunchyroll or something. It's worth giving it a chance.

Great sequel to the first with even more Adventures and development to the characters!

I'm already waiting for a season 3! =D

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This is the second part of a two volume set. The characters are interesting and consistent and the plot is good enough to pull the viewer through all twenty-six episodes. Plenty of believable action and plot twists that build suspense. It does not have a lot of fan service and does not need it.

Read Best Reviews of Bodacious Space Pirates 2 (2012) Here

This story was well planned, superbly written and the illustrated details were impeccable.

The anime grabbed my attention from the moment the music began playing in a neo-gothic / steam punkish high energy intro, to the personality of the characters, to how quickly the story developed.

They intentional mystery was well balanced with adequate character development and a very well crafted plot.

This is a very mature anime [not because of sex but because its simply mature] yet its by no means boring!

The violence is mild, the romance is tame and yet its enough to keep you glued to the edge of your seat every step of the way.

I must say, very few gems come along like this one!

I give it five stars out of five.

Delicious Vodka DeBlair

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The series actually finished off rather well and stayed true throughout the anime series without falling into being either dark or too serious with its storyline. If you've seen or have anime series Kiddy Grade/Galaxy Railways/Tenchi Muyo GXP/Tenchi Universe then this series is a nice addition to those. The animation and soundtrack fit nicely together and the video quality was clear and sharp. Another enjoyable part of the series is the array of many characters with their quirks that make the series so entertaining to watch as almost all of them are endearing and the voice cast for both the subbed and dubbed did a terrific job in their character roles. The extras aren't much but like with most anime sets that's pretty much expected.So for fans of comedic sci-fi animes or just those looking for an entertaining anime series in general here's a great choice to add to your anime library.

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Harold and Maude (The Criterion Collection) (1971)

The editor's review of this film is a fair enough description of the plot. One should add that, despite being made in 1971, the movie manages not to look dated, precisely because it makes such fun of the early 70s style, and that the acting by the three main characters (Harold, Maude and Harold's mother) is simply inspired. Ruth Gordon is splendid of course, while Bud Cort gives a lifetime performance, but it is the portrayal of Harold's mother by Vivian Pickles (what a splendid name for someone in the role) that has to be the most undercelebrated aspect of this film. Her breezy blitheness, outraged exasperation, and British sensibility are all just too wonderful. Filling out a dating questionnaire for her son, in response to the question "Do you find the idea of wife-swapping offensive" she answers, "I find the question offensive." In response to the question, "Do you feel the women's liberation movement has gone too far," she replies, "It cer-tain-ly has." Even "Harold, eat your beets" is delivered so wonderfully that it's memorable. Eric Christmas also makes the bit-part of a priest into something memorable, principally by one splendid monologue.

NOTE: It's been pointed out that a lot of the plot is given away in the following. It's hard to say how much spoilers actually spoil this movie; spoilers may help to make the movie's wisdom more readily apparent on a first viewing. In any case, there are several ahead.

But is this really a black comedy? Personally, I think of black comedies as being morbid and mordant, which Harold & Maude certainly has elements of, but also ultimately cynical. One should not mistake grimness in a film as a sign of nihilism; as the Japanese proverb runs, the ending is all-important. The film ultimately is not about an intergenerational love affair (surely the most "shocking" aspect of the film), but about Harold learning to embrace life. And it is precisely to make as effective as possible Harold's decision to live life to the fullest (rather than continue to prefer to be dead) that it is first necessary to make his life miserable.

As insanely amusing as much of the movie is, it is also full of profundity after profundity from Maude, who is a nearly continuous font of wisdom, with laughter and humor being simply the most crucial values in her wisdom. When she asks Harold what he does for fun, he takes her to a picnic in a wrecking yard. She replies, "I'll grant you, it has a certain something. But is it enough?" When Harold declines her offer of wine, she replies, "Oh go on, it's organic." And most beautiful of all, when Harold says, "I don't want you to die, Maude. I love you," she replies with perfect calmness, "Harold, that's wonderful. Now go out and love some more." If you've been caught up in the genuine spirit of this movie, the line will not seem like some breezy brush-off, but may instead bring tears to your eyes.

The scene of Harold's grief after Maude's death, intercutting silent images of him waiting in a hospital room and driving recklessly around the Marin headlands in the Jaguar he has converted into a hearse while Cat Steven's song, "Trouble" plays, is very well-done and sets up the climax of the film beautifully. Cat Steven's soundtrack throughout, in fact, is a splendid selection of songs, and certainly makes clear that, however morbid things might seem, this film is ultimately life-affirming in a very profound way.

Having watched this movie many, many times and having yet to tire of it, it seems to me there is more to it than meets the eye. And not just because, when Harold gives Maude an engraved birthday gift, she says, "This is the nicest gift anyone has given me in a long time," and then throws it into the San Francisco Bay saying, "That way, I'll always know where it is." And not just because one eventually notices, in the briefest of passing shots, the tattoo of a concentration camp inmate on Maude's arm. In the final analysis, it seems to me that Harold is actually already dead. That his theatrical suicides aren't faked at all, but also don't succeed because he himself is not aware that he's actually dead. It's probably more accurate to say that the director pushes the narrative to the point where Harold seems to be actually dead and not just faking, precisely to make his choice of life at the end all the more inspiring.

And inspiring it is. Harold & Maude is not (alas) for everyone. A viewer who is hidebound like the movie's priest, colonel or mother (read church, state, authority) will find Maude's sometimes gentle, sometimes brash mocking of convention more annoying than enlightening, just as the (not depicted) sexual relationship between Harold and Maude is the thing many people who miss the point remember about the movie. To this, Maude might say, as she does to a police officer, "Don't be officious. You're not yourself when you're officious. That's the curse of a government job." Or as she says, when the priest replies that he didn't like the way she'd painted his statue of the Virgin Mary, "Give it time. It'll grow on you. Some things take a while to appreciate."

A lot of great movies have been poorly digitized or otherwise transfered to DVD without sufficient care and attention, but I was pleasantl surprised by the quality of this one. They found (or restored) a very clean and clear original print of the film and then digitally captured it beautifully. The soundtrack has also been enhanced with a remix of the Cat Stevens songs to take advantage of the stereo front speakers and the subwoofer. A wonderful movie, well presented.

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I had heard about this movie through friends but was never impressed by the story. A reclusive anti social kid who befriends and falls in love with an elderly (though young at heart) eccentric. I wrote it off completely til I saw a bit of it on television and thought it was hilarious and as it turns out I rented the movie and was extremely hooked. Harold is a rich kid with a high strung, selfish mother who tries anything to find a suitor for him, in turn Harold escapes from his home to overshadow funeral processions and memorials. At a number of these events, Maude is in attendence and she lights up the scene with her off the wall,and positively upbeat personality that horrifies and amuses Harold. After a while they become unlikely friends. Maude helps Harold live a little and in turn he develops true affection to Maude. With Ruth Gordon's charm and incredible acting abilites, and Cat Steven's classy soundtrack, its not hard to find yourself feeling happy and free after the movie is over. It really teaches you a message about being your own person and enjoying life.

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Harold and Maude is just a delight to see. Somehow, the wonderful acting of Ruth Gordon and Bud Cort seem to get away with their relationship (which at the time, was QUITE a scandal!)

What is so great about this show is that it was written so beautifully and sensitively. I don't know of any other movie that talks about life and death in such a sensitive, but yet lighthearted manner.

My favorite scene is when Harold and Maude are in a daisy field and Maude says: "You know Harold, I'd like to come back as a sunflower most of all. They're so big and hearty. What would you like to come back as?" Harold responds by saying "One of these" (meaning one of the daisies). Maude says "How come" and he replies, "Because they're all alike."

Then comes the Kleenex box when she replies "Oh no, Harold, They're not all alike! You see, some grow to the left, some to the right, some have even lost petals, all SORTS of observer able differences . . . You see, Harold, I feel that much of the world's sadness comes from someone who is this" (she picks a daisy from the field) -"but yet ALLOWS themselves to be treated as that" (gesturing to the entire field of daisies).

You can't beat this show for its marvelous acting by Ruth Gordon, especially. You will also never find another movie that can portray all of these intense subjects in such a carefree way that they seem commonplace.

Get this movie and watch it several times to really enjoy it. I've seen it at least 30 times, myself and have enjoyed it more and more each time.

Want Harold and Maude (The Criterion Collection) (1971) Discount?

If such an irreverently offbeat film were to be made today, I wonder how the putative audiences would react. As was probably the case when the film was released, people would probably find the theme edgy, if not inappropriate. This anti-establishment cult classic quite openly explores themes of suicide, love, death and life with a fresh perspective.

The interesting part is how this film will likely find you. In most societies, an older man will likely fall for a woman years his junior. Here though, Harold (Bud Cort) -a shy teenager with an affinity for death -meets his 80-year-old true love Maude (Ruth Gordon), not at a dance or social event, but at funerals.

I guess 'Harold and Maude' plays on '60s-esque themes of turning maverick, challenging societal moulds, denouncing materialism. The story is strewn with delectable humor, and thankfully is not of your average garden variety. Cat Stevens' open-air, acoustic-driven rock 'n' roll makes for a cherishable soundtrack giving the film an authentic organic sound indicative of its demeanor.

A great movie with a warm heart -required collective for every self-respecting library!

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