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I was so happy to learn that Hari Om will finally be theatrically released in 2007. I saw this film three years ago at the Vancouver International film Festival and have been waiting for it's release ever since so I could send everyone I know to see it. It's like taking a trip to India....colorful, magical, thought provoking. Aside from one rather strange Hollywood style auto rickshaw chase scene this movie is very realistic. This is not a Bollywood style song and dance movie but it does have drama and romance and humor. The interactions between the Indian taxi driver and the french tourist are a good reflection on the fundamental differences between Eastern and Western life styles and philosophy. The characters are a little broadly drawn but the acting was very good. Visually this movie is a treat as you really do get a sense of what driving through Rajasthan is like...dreamlike. Sometimes it's hard to believe everything you are seeing and experiencing is real...the movie has that same quality. Great soundtrack too!


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In a word...magical. And SO incredibly real. Vijay Raaz is so incredibly raw, so incredibly vulnerable, that you just want his characters to succeed, in whatever he does. And he plays Hari Om impeccably- from his absolutely perfect "Bollywood e-shtyle" to his awkward, shy manner with a first kiss. He is a truly gifted actor and I wouldn't hesitate to see him in anything, because he brings it all to life and gives it a soul. Camille Natta is absolutely gorgeous. It took some time for me to warm up to her- possibly because she plays the role of an ignorant but fascinated tourist so well. Her transition really became her and she molded into her role very well. Even the man you love to hate, her boyfriend Benoit, was wonderful, though you never really like him for the scum that he plays, Jean-Marie Lamour enacts a perfect cad. The script- so real. I found myself turning to my friend repeatedly throughout the film to say, "that's exactly what happens in India! they nailed it!" Very real, very raw. VERY bittersweet but you certainly leave the theater feeling fulfilled. Music by Nitin Sawhney is wonderful and goes perfectly with the constantly changing moods. But Vijay Raaz...I find myself constantly coming back to him- because he is what MAKES this movie. He is the hero, the most charming, disarming rickshaw driver you will ever encounter- he's magical. A lovely, real, sweet, incredibly talented actor who I cannot wait to see shine and succeed in Bollywood, Hollywood or anywhere!


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Hari Om is about an impossible love between a French tourist and the auto-rickshaw driver who agrees to take her to a rendezvous with her indifferent boyfriend. A sort of third-world road movie, that careens from lush reverie to madcap comedy, it is distinguished by the stellar performance of Vijay Raaz, who has become one of India's busier actors after his appearance as the event planner in Mira Nair's Monsoon Wedding.
In an interview, Raaz proves to be quite untouched by his success, responding rather carefully and pensively to questions. He discovered a love of acting and joined a major theatre troupe while in university, but for one with so much formal training is surprisingly inarticulate about his craft. He speaks of honesty and purity as the wellsprings of his approach, and the earnestness of his desire to communicate something authentic to the audience is clear. On screen, Raaz conveys an emotional integrity and dramatic assurance that lifts his characterization to an extraordinary level, and Director Bharatbala has cast and directed him perfectly. He has a wonderfully expressive face which the camera revels in; close-ups of that face are as compelling as shots of Camille Natta, who is gorgeous as the Frenchwoman Isa.


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Between sweeping, extraordinary scenes within a plethora of Indian locations and a plot which is Bollywood inspired yet grounded in reality, this highly moving film is a must-see for those who love a good romance/adventure. And by this, I mean "good", not a Hollywood or Bollywood easy and contrived happy ending. East meets West in a different take on the buddy film. The performances are inspired and brilliant, the cinematography epic and the plot entertaining, engaging and poignant without a trace of schmaltz or cheap tugging at heartstrings. HARI OM is a sweet film that won't rot your teeth. See it!


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On one level, Hari Om is a film using a familiar genre - the road movie - to tell a familiar story: curious Westerner explores the mysterious East. But at its heart, the film is about two people, a young French beauty (Isa) bent on experiencing life to the fullest and a motorized rickshaw driver (Hari Om) with Bollywood aspirations, from vastly different cultures, their slowly growing attraction for each other, and the beautiful mad chaos that is India today. The gap between them can never be bridged, but the director succeeds in bringing the two as close to the brink of an affair as possible without damaging the story's plausibility. India and its people are essential ingredients of the narrative, and except for the main characters, the roles are played beautifully and persuasively by locals recruited during the film's production while on the road between the Indian towns and villages that form the film's setting. One major negative for this viewer: a Keystone Kops chase near the film's conclusion as Hari flees mobsters bent on collecting a gambling debt. But the closing scenes where Isa and Hari bid farewell are poignant and unforgettable.


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I saw this film at the Seattle International Film Festival in a full house of avid movie buffs and Indian ex-pats. The film is amazingly beautiful and smooth flowing for a first film. The direction is self assured, especially with locals who were recruited on the fly for extras and bit parts. While the plot and story line is elementary to nonexistent, the pleasures of watching the performances and scenery offset the lack. The soundtrack to this film is a big attraction to world music lovers. If you want to see what can be done in 45 days, with a different location every day, check out Hari Om for inspiration. It was not disclosed in the Q & A, but I imagine Hollywood could take a lesson in budget film-making by learning from this director.


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A labor of love. Each frame is picture perfect and grabs you. Then the sheer emotion and story-telling take you through a dream that stays with you long after the movie. The director gets your heart and leads it through 100 minutes of visual poetry. You are a part of the emotional ride of the characters. I have seen this movie at 2 festivals and it got with standing ovations at every showing. The remarkable story-telling transcends nationality and language and I felt I was a part of the drama unfolding before me. The casting is as perfect as one can get. Vijay Raaz, Camille and Benoit each hold their own.
I strongly recommend this film to everyone who appreciates good cinema. I can't wait for the commercial release of this movie.


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I just saw this at the Philadelphia Film Festival. It was the most wonderful movie - the best I've seen in quite a while. The enticing character of Isa is an open, exploring and (as remarked in the film) love-filled person - guilelessly portrayed by the beautiful Camille Natta. The accompanying music is soothing and transporting, a balm to the soul.
Each character seems to be conflicted in some way - and their interactions (w/ conflicts) make for a great story. The tale told by A.K. Hangal as the Old Man was most magically done - I wanted it to go on and on.
That Hari seemed to remember his "place" throughout added get power to the story - a refreshing change to the bubble-headed plots of many modern writers.
All and all, an excellent film. Go see.


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Sit back and let Director Bharatbala lead us into a visual and sensual voyage of the mind and spirit of India. When was the last time you could say you really enjoyed a movie? This movie has pace and keeps us moving in directions that may only exist in India. If you didn't want to visit India before this movie will surely make you want to visit it now. This movie has dancing girls, a chase scene, and the mafioso involved. But it has a lot more. Thanks, Bharatbala, for taking us on such a spirited and wonderful tale. I loved the ending. We women don't want illusions in life, we want reality. P.S. I was Carolyn's friend at the Sonoma Film Festival and met you briefly. Good luck with your distribution efforts and I'm talking up the movie a storm.


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Before I forget, let me say the artwork in here is outstanding. From garbage cans to the huge cruise ship, the drawings are beautifully done. If this wasn't animated, critics would be lauding the "direction" in here, because it's really good.
To the story: Sylvester is picking through the garbage at the shipyards but the pickins' are slim. While brooding at the dock next to a big ship, in a porthole he spots Tweety in his cage. Tweety spots him, too, and you know his first comment - the same one he always makes when he spots the cat. Anyway, Sylvester runs over, opens the porthole and says, "Hello, breakfast!" Tweety slams the porthole window on his face and says, "You bad old peeping tomcat!" The cat falls into the water.
The undaunted Sylvester quickly sneaks back aboard ship, tiptoes into Tweety's cabin, grabs him and is ready to leave when - wham! - there's "Granny" at the door with her umbrella. Sylvester takes a beating as the old lady protects her pet bird once again. But, "flippety gibbet," says Granny, "I've dropped my glasses. I can't see a thing without 'em. Heavens to Betsey, where are those cheaters."
Now Sylvester has the upper hand....and the normal cat-trying-to-catch-bird shenanigans are on again, like Granny's glasses. Sylvester's most clever act was to take her glasses and paint a picture of Tweety on them, so when she woke up and put them on, she'd see the bird and think it was okay.
Overall, a very entertaining animated short that was a lot of fun to watch. As you can tell by the quotes, I love the dialog in some of these old cartoons.


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This is one of those Tweety and Sylvester cartoons that made this legendary pair second only to Bugs Bunny in terms of Looney Tunes popularity.
Besides having all of the stock situations for this duo (Sylvester feeding out of garbage cans, the "I tawt I taw a putty tat" line, etc.), Tweety's S.O.S also stars Granny, who is one of those types of supporting characters that these Warner Bros. classics had in abundance to enrich the color and flavor of them. This time out the cat and bird are aboard an ocean liner and the gags that are extracted from this situation are creative and lively.
What a day that was in cartoon history when Friz Freleng decided to pair his Sylvester with the departed Robert Clampett's little yellow bird.


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People who say that some of what the Looney Tunes cartoons show is inappropriate for children have apparently forgotten something: they weren't originally intended for children. They were produced for the cinema, to be shown before feature films, and so they could show anything that they wanted. "Tweety's S.O.S." has that bad puddy tat Sylvester finding Tweety aboard an ocean liner and boarding the ship to try and get him. But two things work against Sylvester: Granny is vehemently protecting the canary, and Sylvester easily gets seasick (we don't see him throwing up, but with his green face, they make it perfectly clear that he was doing just that!). And then of course, the seemingly cute Tweety has a bad-ass streak.
It's just great to see how these cartoons weren't afraid to go all out; whatever they thought about showing, they showed. We need to understand that cartoons weren't always supposed to be cute entertainment for children. Really funny.


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In Tweety's S.O.S, Sylvester goes from picking garbage cans to being a stowaway on a cruise ship that happens to carry a certain canary bird-and Granny, his owner. Uh-Oh! Once again, Tweety and Granny provide many obstacles to the cat's attempts to get the bird. Sylvester also gets seasick quite a few times, too. And the second time the red-nosed feline goes to the place on the ship that has something that cures his ailments, Tweety replaces it with nitroglycerin. So now Sylvester can blow fire! I'll stop here and say this is another excellent cartoon directed by Friz Freling starring the popular cat-and-bird duo. Tweety's S.O.S is most highly recommended.


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Funny, yes. A Freleng classic! To watch Sylvester turn green is always a treat, and it brings us back to the days when cartoon slapstick was brave and geared for the adult mind.
Loved it!


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As I have said before, I am NOT a fan of Tweety. He's just so aggravating I wish Sylvester would just eat him and get it over with.
In this cartoon Sly is homeless once again and is back to feeding out of garbage cans. He spots a cruise ship leaving port nearby and decides to hop aboard when he spys Tweety is one of the passengers.
The ship provides an adequate stage for the following hijinks and Sly desperately tries to catch the annoying bird and avoid seasickness. If only for once he's succeed by chewing and swallowing, thus finishing of the irritating Canary forever. But, as cartoons starring Tweety go, this one is quite good, but it's ALL thanks to that brilliant cat.


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Pretty decent for his early work and no Kokaku Kidotai without it, and gets an 2 points extra for the easter eggs. For Shirow definitely a rung in the ladder. I am biased as a Shirow fan but this was a big step from Dirty Pair which was what I knew of him. Violent fun with a porno soundtrack! You cannot help but notice that. I know people appreciate him for Ghost in the Shell..but all of the deep spiritual overtones were dealt with in Appleseed. ESWAT killing terrorists, the struggle for humans to stay viable as bioroids phase them out, and Deunan staying thin despite her intake of junk food. Definitely like the characters even the traitor..and I do not know why.


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Based on the manga (comic) of well-known artist Masamune Shirow, this animated feature was a slight disappointment to me.
The story is good, but the animation is merely "OK" while it could/should have been mindblowing. The movie is IMO adequate, but seems somehow flat & uninspired, if you know what I mean. A wasted opportunity, if you consider that another work by Shirow, "Ghost In The Shell", is considered a classic in many respects. It set new standards for Japanese animation, and spawned, among other things, a brilliant series called "GiTS: Stand Alone Complex".
I consider this worth a rental, unless you're a fan of Shirow and want it all. Do check out the original manga, which comes highly recommended.


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The animation quality here is decidedly below par IMO, regardless of the age of the OAV. The plot itself makes sense, but the characters don't.
This might sound picky, but considering that the city of Olympus is almost exclusively populated by living machines, would YOU feel comfortable there as a human? Would any machine ever emulate human arrogance, short-sightedness and greed quite so effectively? I doubt it. There are some pointers towards this in the movie, but only when the team can be bothered to put them in, by and large the 'bioroids' (or whatever they are) are interchangeable with human characters. Seems sloppy to me.
The main characters seem to have some kind of emotional entanglement, though no light is shed on this. Little light is shed on the backstory at all, a great pity. The short length of the film coupled with the focus on mecha and the crime means that we don't see any character depth. The groundwork's all down, yet we're left with no finished product. A cropped version of this OAV would have made a great TV episode, once some character sub-plots had been established.
The highlights of this short film are the mecha designs and the action/espionage.
The flaws really start to show through once you've had a chance to digest all the goings-on, so I couldn't recommend this for owning, but it's certainly worth a watch or two! Whilst this review is mostly negative, I really do think it's worth your time to watch this, but it's not something to rush out and buy.
In a nutshell: A watchable wasted opportunity.


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If you are looking for a phony Hollywood action movie, this won't be one for you. If the Truth is what you seek, rent or buy this. From a true story, the movie attempts to capture the heart of what was/is happening in South Africa (and many other places).
For historical knowledge, this rates up there with stories such as "The Pianist," "Schindler's List" or "Nuremberg." Millions of people today have no clue what apartheid is or that it even exists. This movie may help them learn, and may even help them dig deeper.


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This movie, based on a true story of Gerrit Wolfaardt, is one of the best films I've seen on race relations in South Africa; a very good history lesson of the turmoil of 80's South Africa. I put it in on the scale of American History X as far as it's depiction of how a young man can get seduced by the Aryan doctrine and how the "certain" segments of the Christian church taught a false doctrine regarding race to justify an injustice.
It's strong message of forgiveness and redemption, is one of rarity in films today. The violence is well done as to show the severity of Gerrit's crimes and greatness of his transformation.
One word about Jan Ellis who played Gerrit Wolfaardt. He carries you through the darkness of Gerrit's beginnings to his enlightened transformation. He went to some dark places as an actor and is to be commended on his performance.
Another standout performance was that of Mpho Lovinga who plays Moses Moremi, one victim of Gerrit's crimes. He was able to pull from some places of pain that really touched you as you watched his performance.
Very good movie to show the teens.


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I know Gerrit. He presently lives in the U.S. This film is based on events in the lives of both Gerrit and Celeste Wolfaardt. It's a remarkable story. It inspired me to read "Cry, Beloved Country." The film is well-produced. The music is beautiful.
The story is told in flashbacks. You learn the stories of a white racist South African (Gerrit) and a black South African (Moses). Their lives intersect violently. The ending is not typical Hollywood -- it's unusually realistic and ends on a note that encourages you to think about the characters and the themes.
Be sure to watch through the credits -- you'll get to see footage of Gerrit in real life.


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Final Solution is a powerful christian film that shows the hate between the black and whites that was present in the days of apartheid. It shows how this hate was contrived and was groomed from generation to generation. Jan Ellis was taught that a black man was a plague. He was raised to be that way.
Then he meets a man who is on the opposite side of his beliefs, Pastor Lekota. will he change his ways?. The film is a powerful movie that shows the perceptions the different races had for one another, it shows these perceptions with quite a lot of accuracy. The movie shows the world of how apartheid affected the psyche of blacks and whites.
This is a great film that everyone should watch.


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The subject of this movie is disturbing. How could some otherwise intelligent, religious, hard-working, and sincere White Afrikaaners treat the native Blacks so cruelly for so long?
The movie answers this question, and also explains how some Afrikaaners are changing in a positive way.


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Well this was the WWF's last pay per view event of the millennium and it ended the year and millennium right. The huge story line of Stephanie and HHH started right here at this event when Steph turned on her dad. Vince McMahon had a great match with HHH and this event is very good I give it a 9


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In Nordestina, a village in the middle of nowhere in Pernambuco, Antônio (Gustavo Falcão) is the youngest son of his mother, who had uninterruptedly cried for five years. When he is a young man, he falls in love for Karina (Mariana Ximenes), a seventeen years old teenager that dreams to see the world and becomes an actress. Antônio promises Karina to bring the world to Nordestina, and once in Rio de Janeiro, he participates of a sensationalist television show and promises to travel to the fifty years ahead in the future or die for love with a deadly machine he had invented. Fifty years later, Antônio (Paulo Autran) tries to fix what was wrong in his travel.
"A Máquina" is one of the best Brazilian movies I have recently seen. The refreshing and original story is a poetic and magic fable of love that will certainly thrill the most skeptical and tough viewer, in a unique romance. The direction is excellent; the screenplay is awesome; the cinematography and colors are magnificent; the cast leaded by Gustavo Falcão, the icon Paulo Autran and Mariana Ximenes is fantastic, with marvelous lines; the soundtrack has some beautiful Brazilian songs highlighting Geraldo Azevedo and Rento Rocha's "Dia Branco". If this movie is distributed overseas, please thrust me and rent it or buy the DVD because I bet you will love the story that will bring you into tears. My vote is nine.
Title (Brazil): "A Máquina  O Combustível é o Amor" ("The Machine  The Fuel is Love")


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I rented this movie, but I wasn't too sure what to expect of it. I was very glad to find that it's about the best Brazilian movie I've ever seen. The story is rather odd and simple, and above all, extremely original. We have Antonio, who is a young man living in Nordestina, a town in the middle of nowhere in the north east of Brazil, and who is deeply in love with Karina. The main conflict between the two is that, while Antonio loves his little town and has no wish to leave it, Karina wants to see the world and resents the place. As a prove of his love for her, he decides to go out himself and bring the world to her. He'll put Nordestina in the map, as he says. And the way he does it is unbelievable. This is a good movie; might be a bit stagy for some people due to its different editing job, but I think that it's also that that improves the story. It's just fun, and it makes you feel good.


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Years ago I read the book 'A Máquina' (The machine). As I re-read this little book again and again, I could never stop getting more and more fascinated by the imagination of the writer and the richness of the Brazilian culture.
When I knew about the movie, I was really scared that someone would spoil one of my favorites books! Well, happily, my fears were unjustified and the movie is such a wonderful and delicate piece of art.
I can't recall of any other movie that could bring tears to my eyes due to the very beauty of the text. Also I can't recall such a powerful performance like Gustavo Falcão's.
You can see and feel how colossal his love for Karina is. You can realize that he'll move mountains and do anything for this love.
Do see this movie, watch it thru the eyes of the kid that lives inside you, enchant yourself!


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Very touching film, a great surprise to come up from Brazil, a country that usually exports features about social themes, violence, sex... Magical realism is a very hard task, and I believe João Falcão has made it wonderfully. It seems that he really didn't intend to make a realistic film, far from that. Although many people think the film was adapted from the play, he said in his interviews that he actually based the film on the book. Another mistake is to think that Falcão has been influenced by the series "Hoje é Dia De Maria". The TV series produced by Globo was made after the film, but aired before... Unfortunately.
The negative point is the photography, by Walter Carvalho. It seems that he didn't capture or understand the concept Falcão has created. The story is captivating and universal, in spite of taking place in a tiny little city in Brazil. That could take place anywhere in the world. A great movie, I strongly recommend.


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Let's be fair: there are no RULES for scriptwriting, so I won't say the movie SHOULD be something other than it is. I'll just state my opinion. OK, I really liked the script, the way things are told and characters are introduced. However, I think when a play is adapted to the silver screen, it could maybe try and fit this other media. Since this movie was directed by João Falcão, the same man who directed the play, it's not too much of a surprise that the film turned out a bit too theatrical. It's the man's first movie, for cryin' out-loud! What I'm saying is, there are parts in the film - like the city of Nordestina, which slightly resembles the set of "Hoje é Dia de Maria" - that feel like we're not at a movie theater. We're at the theater! Lines are spoken too formally, characters are moving choreographically, and the lightening is clearly meant for a stage. Sure, maybe that was the intention, but that's been done. On stage. Wonderful things have been made when adapting a play into a movie - the beautiful "Closer", for instance. When I went to see this one, though, I didn't feel like I was watching a movie. But overall, it was a good one, worth watching. It's a nice love story, funny at times and sad at others. My vote is a 7.


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The Duke is a very silly film--a dog becoming a duke! But it's a very fun movie. It has some of those corny pranks that many kids movies have, but (thankfully!) no bodily function jokes, as so many animal movies feel compelled to have! Mostly, it's just dogs being dogs and people being. . . well, people. The 'good guys' are likeable and appealing. The 'bad guys' are ridiculous, and of course, the pun of many jokes. But there is something dignified about this movie, for even though it is silly, it's not out for every cheap laugh like "Home Alone" and others.
Crocket, Simon and Copper do an excellent job playing Black and Tan Coonhound "Hubert" who becomes the Duke after his beloved owner, a real Duke, dies. For the most part, they just act like dogs, no 'talking,' or human-like emotions and attitudes. However, they do stereotype poodles, and Hubert does fall for her, just because she's a poodle. Come on! These are dogs--they have a different view of beauty!!!
Overall, charming, fun and enjoyable.


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it's a great movie for the whole family. i don't think many people have seen it cause i ask people and they say that they've never heard of it before. Sophie Heyman is my aunt's sister in law. my favorite scene is the whole movie i can't even pick a favorite scene. my favorite character is Hubert because he is a funny yet smart dog. if someone hasn't seen it they are missing out on a great adventure. i've only seen it cause my aunt is related to Sophie and she got a copy from her. if someone is reading this i suggest buy the movie and i guaranteed it won't be a bad decision. i've seen this movie about five times and every time it gives me the same message, dogs are as smart as people just give them a chance.


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I really enjoyed this movie about a dog who becomes a Duke. It would have been very easy to mess this one up, but along with the humor, the script was filled with warmth and even some profundity about nobility and class. It's a feel good movie that the whole family can watch.. even the adults!


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The "old dark house" sub-genre that dominated the early talkies rarely fails to disappoint when we re-view the oldies to-day. Here is one that provides so very many suspicious characters you have to wonder how they will be able to tie up all the loose ends in the 6 reel running time.
The Crooked Circle is a gang of counterfeiters and thieves who have decided to take revenge on Col. Walters (Berton Churchill) who has sent one of their ranks to prison. They decide he must die that very night. Meanwhile the Colonel's own group, The Sphinx Club, is determined to protect him at all costs. This does not sit well with Thelma (Irene Purcell) fiancée of club member Brand Osborne (Ben Lyon, late of the mega-budgeted HELL'S ANGELS (1930)) who wants him to quit the club and stop endangering his own life. Brand promises to resign after saving the colonel's life. Everyone heads off to Walters newly purchased mansion on Long Island to await the assassin.
The Colonel might be the new owner of Melody Manor but it's an old dark house complete with eccentric neighbours (like Raymond Hatton as a local hermit) and maybe even a ghost. Top billed Zasu Pitts is Nora, the housekeeper who expects to see a spirit around every corner. Throw in a cop (James Gleason) who is certain Brand is a criminal and we have a picture which is packed with action and surprises.
You will notice right away that the script writer was at a loss to come up with too much dialog because a lot of characters repeat the same lines over and over. Yoganda (C. Henry Gordon) a Hindu mystic (which movies of that time were loaded with) says "Evil is on the way." many times and I lost count of how often Ms. Pitts says "Something always happens to somebody!". There are many suspects and two characters (Mr. Gleason as the stereotype dumb cop and Roscoe Karns as Mr. Lyon's pal) who serve as comedy relief. The house itself is appropriately spooky looking (in fact I think the same set was used in THE PHANTOM (1931)) with lots of secret passages and violin music coming out of empty rooms but somehow you never really get a feeling of danger. Maybe it's because no one in the movie, and I do mean no one!, is entirely what they seem to be. It all comes out right in the end though; but to go into any more detail would spoil it for you.
Watch carefully for Robert Frazer (from WHITE ZOMBIE) and Frank Reicher (best remembered as Capt. Engelhorn from KING KONG) to pop up among the suspects.
THE CROOKED CIRCLE is a fun film. Some aspects of the plot are predictable and then again several others are not. I suspect you will enjoy it.


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1930's comedy mystery about "The Crooked Circle" a band of hooded crooks who set about plotting the murder of some one who swore to oppose them. Enjoyable but really unremarkable little film, the movie works simply because the cast headed by Zazu Pitts and James Gleason (both of whom would later appear together in a couple of Hildegarde Withers films after Edna Mae Oliver dropped out of that series) and supported by a great cast of actors and actresses you know but may not know the name of (I don't hence the lack naming). A breezy hour long romp, the movie doesn't make a great deal of sense with mistaken identity, secret passages, ghostly music and people not being who they seem. Its the perfect thing for a dark and stormy night or a late night viewing when one is nostalgic for the late late show.


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If you've never experienced the thing that is Zasu Pitts, here is a Zasu zinger! In 1933 Mae Questel caricatured Pitt's voice for the character Olive Oyl for the Fleischer Studios animated cartoon version of the comic strip Popeye. Zasu (pronounced Zay-Sue) does her best "Olive Oyl" impersonation walking around whining and ringing her hands or attaching herself to the policeman's laynard. I kept waiting for her to say "ohhh myyyy", but instead it's "something always happens to somebody." The first time I saw this film I loved Zasu and found her character really funny. I've since seen her in other films where she does this same whining, uptight, fragile-flower routine. So, upon watching this film again I started getting a little annoyed with the constant whining and near hysteria over a piece of dust. But, there are some funny comedy bits here, and it's also a mystery movie as well. It's an interesting mix of mystery and comedy that actually works. The mystery plot holds together well through the camp of Zasu Pitts and James Gleason who plays Arthur Crimmer the policeman. The haunted House is fun with many a secret passage and even a skeleton in the attic! Well worth the watch. Read more public domain movie reviews at: http://pdmoviereview.blogspot.com/


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I hope, from his seat on Heaven's comedic throne, Spike Milligan can see and can enjoy this film, as Terence Ryan and Ken Tuohy have taken a book that the author himself said writing it "nearly turned me mad" into a joy to watch.
The film tells the story of the Irish town of Puckoon and the problems befallen upon it when the partition between Northern Ireland and the Republic is drawn up, cutting its way through the centre of the village and, more worringly, through the middle of the churchyard. This causes some deceased, buried in the Catholic churchyard, to now be in the Protestant north - and so the local priest, assisted by a wide variety of eccentric locals, aims to move the bodies back undercover of darkness, and so avoiding the bureaucratic British border guards.
It was inspired work to cast the Irish comedian and poet Sean Hughes to play the part of Madigan. He brings an innocence to the part, especially in his to-camera pieces (which is normally where he interacts with the voiceover of Richard Attenborough, playing supposedly the writer/director of the film). Daragh O'Malley playing Father Rudden is also worthy of considerable praise; and the rest of the cast, from the household names like Elliott Gould and Griff Rhys Jones to people with what would normally be called 'bit parts' - such as Spike's daughter Jane who plays Madigan's wife give 100% The credit for this goes, in no small part, to the wonderful characterisations given by Spike in the original book.
I could argue that the film is slightly too long, or that Elliott Gould's Irish accent left a little to be desired, but those would be only minor points and take nothing away from the excellence of this film.


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Saw the film at the closing gala of the Ealing Film Festival in West London(England). Enjoyed it immensely. Although the Crow & the Chinese Policeman don't appear, and Dan Milligan becomes Dan Madigan (played by Sean Hughes (I)). The interaction between Dan and the Author (Writer/Director) voiced/played by Lord Richard Attenborough, works very well.
The rumour is that Lord Attenborough and Elliott Gould (as Dr. Goldstein) appeared in the film for just a pint of beer.
Spike was shown the film, on video before he died and by all accounts enjoyed it immensely.


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Spike Milligan's books and plays have defeated film makers over the years, and 2002's 'Puckoon' is sadly no exception. The novel, set in 1924, concerns the partitioning of Ireland, in particular its effects on a solitary community ( the 'Puckoon' of the title ). Due to a colossal blunder, half the village is now in Northern Ireland, the other half is in the Republic. Locals go to the toilets at the bottom of their gardens to find a barbed wire fence blocking their path. Drinkers crowd like sardines into a corner of the pub to enjoy a cheaper pint. A dead man has to have a passport made out in his name before villagers can reach the churchyard to bury him.
'Puckoon' is a sort of Irish 'Under Milk Wood' with comic characters and surreal happenings galore. The lead character, Dan Milligan ( renamed 'Madigan' in the film ) is impishly played by Sean Hughes, and has conversations with the narrator ( Richard Attenborough ). Also in the film is Milo O'Shea, Griff Rhys Jones, David Kelly ( from 'Robin's Nest' ), Freddie Jones, Joe McGann, and Elliott Gould.
Interviewed for the 'Making of 'Puckoon' documentary, writer/director Terence Ryan expressed undying admiration for the book. It shows on screen. But, alas, like the ill-fated film of 'The Hitch-Hiker's Guide To The Galaxy', a good book does not necessarily make a good film. The trouble with 'Puckoon' is that, like Milligan's other books, they simply do not work on the big screen. 'Puckoon' is essentially a collection of jokes in search of a plot.
No way can the film be compared to train wrecks like 'Sex Lives Of The Potato Men', 'Fat Slags', and 'Lesbian Vampire Killers', but then neither is it as good as it should have been. The last half-hour involves a lot of running around by the police, the British army, some locals who have stashed explosives in a coffin, and is really tedious to sit through. Ryan's decision to stick closely to the book is the main reason for its failure to work as a film.
The other problem is the total absence of charm. 'Waking Ned' had this in spades, while the 'Father Ted' television series was funnier by far. Spike lived long enough to see the film, and apparently enjoyed it. His daughter, Jane, has a cameo as Madigan's bride.
The highlight for me though was the quotation at the beginning: "I don't mind dying!", said Spike: "I just don't want to be there when it happens!".


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Incredibly hilarious mid-70's Italian Rootsploitation with lots of non-consensual S&M, lesbian sex, gratuitous racial cruelty etc...Few redeeming cinematic qualities, except for the fairly cool theme music with dubby "African" drums and flute. Brilliant sample dialog:
White Slave Owner (to White Plantation Manager): "You're so dumb, I'll bet you forgot to interrogate that n****r midwife!"
White Plantation Manager: "Not only did I interrogate her, I did it so well she died before I could get any answers from her!"
All the black actors have 70's afros, and say "yes, massa" in a high-pitched voice. The female lead has sex with everybody on the plantation. 10 Stars for fans of tasteless sleaze.


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Obviously made on the cheap to capitalize on the notorious "Mandingo," this crassly pandering hunk of blithely rancid Italian sexploitation junk really pours on the sordid stuff with a commendable lack of taste and restraint: The evil arrogant white family who own and operate a lavish slave plantation spend a majority of the screen time engaging in hanky panky both each other and their various slaves. Director Mario Penzauti and screenwriter Tecla Romanelli cram this fetid filth with a teeming surplus of sizzling sleaze: we've got nasty rape, interracial copulation (one white lady makes wild love to a muscular black stud while he's tied to a cross), copious female nudity, brutal whippings, vile degradation, lots of lurid soft-core sex, and a severely twisted tragic surprise ending that mixes elements of incest, murder and miscegenation in a questionable attempt at making a statement about the horrid inhumanity of slavery. Special kudos are in order for foxy brunette actress Paola D'Egidio, whose lusty and uninhibited portrayal of depraved and lascivious wicked bitch Rhonda positively burns up the screen. Moreover, Marcello Giombini's funky, throbbing tribal score hits the groovy spot. Maurizo Centini's fairly polished cinematography likewise does the trick. A satisfyingly seamy chunk of slimy swill.


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As is often the case when you attempt to take a 400 plus page book and cram it into a two hour film, a lot is lost. Here director John Madden (Shakespeare in Love) takes on an extremely ambitious project and almost pulls it off. What we get is a charming and emotionally compelling film that seems somehow incomplete.
There is much about this film that is wonderful and fantastic. The cinematography by John Toll (Cinematographer for Braveheart and Legends of the Fall, winning Oscars for both) is splendid. Working with Madden, the choices for locations on the Greek island of Kefallonia are superb and the visual images that come from photographing these majestic locations in varying light are lush and beautiful. Madden also uses numerous Greek actors as the townspeople, giving the town an authentic feel. The soundtrack is also terrific and the mandolin passages and vocals by the Italian soldiers are marvelous.
Madden does an excellent job of bringing us the Italian occupation and the romance, which take up the greater part of the film. There are numerous sweet and funny moments throughout this segment. However, by the time the serious battle drama is ready to unfold, there isn't much film left in the reel and this component is extremely rushed and abbreviated. While the battle scenes are well done, subsequent to the battle it is obvious that increasingly greater compromises are being made to keep the film from running too long. By the time we reach the post war scenes, the treatment is merely skeletal. Another negative is that the DVD is particularly sparse on features.
Nicholas Cage is charming in the romantic lead as the sentimental Captain who seems to have joined the army to sing rather than fight. When fight he must, Cage switches gears seamlessly into a man of fierce principle and resolve and somehow remains believable in both personas.
Penelope Cruz, whom the camera loves, gives an uninspired performance as Pelagia. In part this is because Cage so dominates the screen, but Cruz just seems too placid in a part that should be emotionally torrential and dynamic. She allows the character to be objectified as Corelli's love interest rather than establishing her as a powerful character in her own right.
John Hurt gives a fantastic performance as the wise old doctor, who knows as much about human nature as medicine. However, Christian Bale seems a bit overwrought and stiff as Pelagia's fiancé.
I rated this film an 8/10. Despite some drawbacks, this is a touching film that is well worth seeing. The photography alone is worth the price of admission.


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Being Of Cephallonian descent, I was happily surprised when watching the movie. I have heard the true history from my relatives that still live in Cephalonia, but when watching the movie and reading the book the sketchy bits of history were filled. It is all true, the Italians would sing, the oppression and the earthquakes that rock the island so often. The earthquake in 1953 killed my great grandfather and the book and movie both portray the feeling of the era with great compassion. If you haven't seen the movie go and watch it and read the book, it is not only a love story, and yes, there were plenty of Italians in love with Cephallonian women, in fact, boat loads of Cephallonian women were taken to Italy after the war, it is a true depiction of history.


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