The story is so primal that it seems to have sprung directly from South African soil. It begins in a tiny village with thundering ceremonial dances in colorful tribal costumes. A tender love story emerges between a village girl and young man, who has gone away to work in the mines. As her sweetheart travels from the countryside to the city, tribal ceremonies morph into break dancing, jubilant South African rock & roll, and gospel singing. The youth, torn between his village roots and urban temptations, personifies the essential African conflict between the ancient and modern worlds.
Among memorable numbers are the cobra dance, with mesmerizing glow-in-the-dark costumes, and a funky gospel hallelujah chorus that brings down the house. The spectacular wedding ceremony between the boy and his girl symbolizes a marriage of tribal and city cultures. --Laura Mirsky
The film does look dated now--Mirella Freni's Mimi, sung with moving clarity, has the doe-eyed look of a 1960s pop star and the camera work is a tad unsophisticated--but the singing still puts the listener through the wringer. Gianni Raimondi's Rodolfo ("Che gelida manina") struggles manfully to come to terms with his emotional shortcomings, and Adriana Martino (Musetta) has some fine comic moments before playing her vital part in the overwhelming sadness of the final scenes. Soul food for the tragically inclined. --Piers Ford
When the Lakers were crowned champions in 2000, they had the look and the swagger of a dynasty in the making. But in the 2000-2001 season, the team's delicate chemistry was shattered by growing tensions between their two marquee players, Shaquille O'Neal and Kobe Bryant. They had the same goal--a repeat championship--but opposite visions on how to achieve it. Bryant "wanted to come out and annihilate everybody," coach Phil Jackson observes. In his quest to become known as the league's best player, Bryant tried to win games by himself. In one game, he scored 51 points, but the team lost. Meanwhile, O'Neal saw himself as the team's "big dog," telling reporters, "If the big dog ain't me, the house won't get guarded." The Lakers' championship saga became "the league's leading soap opera" until the disjointed team "rediscovered their purpose." Their championship bluster returned with a vengeance as they went undefeated in the playoffs against the Portland Trailblazers, Sacramento Kings, and San Antonio Spurs. The last 30 minutes of this hourlong video chronicles the exciting championship series against Alan Iverson and the underdog Philadelphia 76ers. With the best record in the history of the NBA playoffs, the Lakers took another step toward fulfilling their promise of a dynasty. This video goes beyond game highlights to include candid interviews as well as footage of the Lakers' victory celebrations. Stay tuned for a music video of Sugar Ray's "When It's Over." --Donald Liebenson
The 18 shorts that comprise The Best of Saturday Night Live: The Mr. Bill Collection exemplify the humor and outrageousness that we have come to expect from Mr. Bill, Spot, Mr. Hands, and of course, Sluggo. The plots, and budget, may have been simple and at some times poorly executed, but they remain a catalyst of laughter and bring back memories of staying up late just to see what troubles would cause Bill to utter his famous phrase: "Ohh, nooo!!!" We are treated to classic Mr. Bill exploits, such as "Mr. Bill's Christmas Special," "Mr. Bill Goes to New York," and the inappropriately named "Mr. Bill Strikes Back," as well as a bonus "Public Service Announcement" relating to highway education.
Although the quality of the film is not always the best, the humor remains intact. In 50 minutes, The Best of Saturday Night Live: The Mr. Bill Collection illustrates how he was one of the show's brightest stars, all the while keeping his unkempt, independent charm. --Zachary Lively
The film traces the life of Sethe (played in her middle years by Winfrey), a former slave who has rebuilt what seems to be a peaceful, productive life in Ohio. Yet through chilling, sparing use of flashback, Demme slowly unveils, as does the Toni Morrison masterpiece on which the film is based, the horrors of Sethe's former life, and the terrible event that led to the haunting of Sethe's home.
While the horrors of slavery and the bloody event in Sethe's family leave undeniable impressions, the film's brilliance is also evidenced in smaller, equally satisfying ways. Rachel Portman's spiritual-influenced score is as uplifting as it is haunting, and the glimpses of the post-slavery African American world--as with a simple family outing to a local carnival, or a ladies' sewing-and-gospel circle--make this a treat for the intellect as well as the heart. The members of the cast, especially Kimberly Elise as Sethe's struggling daughter and Thandie Newton as the mysterious title character, are supremely affecting. --Anne Hurley
As the detective story in this documentary unfolds, clear evidence of cannibalism does emerge. The problem is that the artifacts, damning as they are, can't tell the entire story of the terrible things that happened in the canyons where the Anasazi lived. Scientists do stand firm in their belief that people were being butchered and eaten in the pueblo community, but a surprising scenario emerges to explain just who the cannibals were. This is a riveting scientific story made even more interesting by the ethical and cultural concerns that play a role in the deductive process. --Robert J. McNamara
The first 40 minutes or so are "fun" to a point. Penn is the perfect near-creep to root for, and as he wanders back into town after meeting Grace, the eclectic characters pile up. But soon it gets monotonous, tiring, and just plain ugly. And when incest and bloody fights begin, the fun is gone. If Penn weren't so solid an actor and able to be empathetic in the most morose situations, the movie would be unwatchable at stretches. Lopez makes another good impression, but this is not a performance that stands out. Nolte, raspy and ill-looking, is the Lee Marvin of the '90s. Before U Turn is over, you are already wondering if Oliver Stone will do something else, something more important, soon. --Doug Thomas
Sensitively written by Lewis John Carlino (The Great Santini), Resurrection tenuously mixes spiritual significance with John Ford's homespun tradition, but for the most part it works: Burstyn superbly conveys Edna's heartfelt determination, and both she and stage veteran Eva LeGallienne (in a rare and final film performance, as Edna's grandma) deservedly earned Oscar nominations. The movie dares to suggest that miracles reside within everyone, and that pure grace will manifest itself in unexpected ways. To that end, Richard Farnsworth is warm and wise in a brief but perfect role; Burstyn's final scene with Roberts Blossom (as her disapproving father) is a heartbreaker; and the film ends with an act of compassion that brings the story full circle as an affirmation of life's greatest mysteries. --Jeff Shannon
The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.
Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.
Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. --Sam Sutherland
Posts
All Comments
