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user\nI am always impressed when a director (and this case director/screenwriter) takes a piece of classical text - and makes it come alive. Sure, Shakespeare's text can give you goosebumps even when hammered out with self-importance, but to see a production where true inventiveness makes wonderful words even more so - by the provision of context or nuance not found in the stage directions is simply awe-inspiring. There are many troubling things about the play. It is a racist play about racism - and that still sticks. I have never accepted Jessica's desertion of her father without any acceptable reason. I have never accepted the Christians' position of sanctimonious self-righteousness. But, brilliantly, there is a text prologue which helps us understand the times and politics in which the story is set, and mercifully, much of Jessica's part is cut.
The text is quite stripped down with many passages cut. But, I only noticed one line which was cut at the moment when I expected to hear it - and it was replaced by a look that said it all. This economy and judicious editing has given us a gripping movie - not just a film of the play.
And at last, there is a rationale as to why Antonio is so loyal and generous to the undeserving/unrelated Bassanio - you can almost feel Antonio's pulse start to race when he catches glimpse of Bassanio passing by in a gondola, or arriving for a visit. But it is as subtle as that - no more. I was spellbound.
There were many other highlights. I felt the arguments during the trial to be heartbreaking. And, the suitors' trials are hilarious.
Add all that to glorious cinematography and costumes that resonated with the times, and you'll understand why I can't wait to see it again. And again.
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user\nIt is a risky business to film such a lavish production of \"The Merchant of Venice\". It could be a stodgy, wooden, period piece, or it could be laughable for its excesses. This version is neither. While I am not completely sold by Al Pancino's very restrained Shylock, he does give a competent and honorable performance. Jeremy Iron's Antonio, is as always with his tortured-self roles, riveting. Some of the lesser roles seemed to be a little to much in the spirit of boisterous fun, \"a boy's own Venician adventure story\", but the central plot is efficiently and sympathetically moved forward through the film.
It goes without saying, that the location shots, costumes, and interiors were breathtaking, almost to the point of distraction.
One thing, on which I do not wish to comment on, is the anti-semetic content of the play. The film is as sympathetic to the predicament of the Jews as possible while still portraying Shylock as the instrument of his own self-destruction. It is a sad comment that four centuries later, the director of this film found it necessary to comment on his nuanced view before the premiere screening at the Toronto film fest.
This is a beautiful film, and I look forward to several viewings.
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user\nI saw The Merchant of Venice in London last week. Great acting by Al Pacino, Jeremy Irons, Joseph Finnes and Lynn Collins. Compare to other movies based on Shakespeare's play, this production has made the play so easy to understand and follow. Bravo to Michael Radford for directing such top actors. The costume and the scenery are great and since it was filmed on location in Venice it gives the film and authentic flavor. I had read the play over thirty years ago at school and the emphasis was on the characters' anti-Semitic behavior toward the Jews and the cruelty of the Christians. I do not know if this movie is going to be controversial but in any case I am sure that it will get few Oscar nominations.
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user\nSeriously, where is Al Pacino's Oscar nomination for this one? Is it that we take him for granted at this point in his career? Pacino here is extraordinary.. He gives a complex, heartbreaking performance as Shylock, the Jewish money lender.. the movie as a whole was quite great, with beautiful shots of Venice to look at and a pitch perfect score to listen to.. the other actors all do a fine job as well, but the real reason to see this is Pacino.. I have seen all the nominated Oscar performances of 2004, and I must say that Pacino was snubbed.. blame it on the anti-semitism associated with the play, the lack of campaigning by the studio, the late release date with no major push, or most likely, all of the above.. in my mind, the best performances of the year belong to Jamie Foxx in Ray, Don Cheadle in Hotel Rwanda, and Al Pacino in The Merchant of Venice..
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user\nMichael Radford, the director of \"The Merchant of Venice\" makes a tremendous job in opening the play, as he makes it more accessible for everyone to have a great time at the movies watching this thorny account of a horrible time in history. The luscious production of the Shakespeare's play is a feast for the eyes with its rich detail of the Venice of the XVI century.
This is a story of revenge, prejudice and justice, as imagined by William Shakespeare. Having seen the play a few times, we were not prepared about what to expect. Mr. Radford takes care of presenting the story with such detail so it can be easily understood by everyone. Also, he has used a version of English that makes more sense, rather than relying on the original text. In fact, the way Shylock speaks in the film, doesn't shock at all, being he, a member of a minority that has been marginalized by the Venetian authorities and the Catholic Church.
Al Pacino tremendous portrayal of Shylock shows a man that is vulnerable, arrogant, revengeful, mean, and totally human, all at the same time. Mr. Pacino sheds light into the character of the man who is defeated in court by a technicality. His own daughter has left him and his whole world seems to be caving in on him. At the end of the film, we see a man that has been reduced to being the target of hatred and ridicule by everyone.
Lynn Collins, as Portia is a happy discovery. Having seen her in lighter fare, she not only surprises, but she makes the best of her role and her time in front of the camera. She shows us she is a woman with a high intelligence, who comes to the help of her husband and his best friend, who risked his own well being in trying to help Bassanio get Portia's hand.
Jeremy Irons plays Antonio, the man who seeks Shylock for a \"bridge loan\". After all, he knows his ships will be returning with fortunes from abroad soon. Antonio gets much more than he bargained for in agreeing with Shylock to the terms of the loan. Antonio's best laid plans go astray when he is suddenly unable to fulfill his obligations. Mr. Irons gives a subtle performance.
Joseph Fiennes, makes a good appearance as Bassanio. His good looks and his charm make an impression on Portia, who clearly sees a soul mate in this young Venetian as she knows he is the one for her. Also, in smaller roles, Kris Marshall, Zuleika Robinson, Charlie Cox, contribute to make the film an enjoyable experience.
Ultimately, it's Mr. Radford's triumph because of the vision he gives us of Venice and its citizens during a horrible time in the history of mankind.
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user\nVenice, in 1596.Jews are separated from the good Christians.Bassanio, a young but poor Venetian loves the fair Portia, who is a wealthy heiress.So he approaches his friend, a merchant called Antonio for three thousand ducats to travel to Belmont and propose Portia.All of Antonio's ships and merchandise are busy at sea, so he turns to the moneylender Shylock, the one of Jewish faith.Shylock does not like Antonio, for he spat on his face.He offers Antonio a three-month loan at no interest, but if he will not pay the money in that time, he will own a pound of his flesh.Also, Shylock's daughter Jessica elopes with the Christian Lorenzo.The Merchant of Venice is based on William Shakespeare's play that's believed to have written between 1596 and 1598.I read the play last summer and now I've seen the movie, made in 2004 by Michael Radford.I liked the play, and I don't quite agree with the accusations of it being anti-Semitic.The Jewish character does not appear as an inhuman monster, even though he's ready to cut a piece of Antonio's flesh.There's a lot of depth in his character, which all comes out in his speech where he asks \"If you prick us, do we not bleed?\" and so forth.There is much more human in Shylock's character than in one of Antonio's, who spits on the good Jew.Al Pacino is unbeatable as Shylock.He gives such a strong performance.Jeremy Irons is also terrific as Antonio.Lynn Collins is most beautiful and brilliant in the role of Portia.Zuleikha Robinson does great job as Jessica, and Charlie Cox as Lorenzo is also very good.Kris Marshall plays Gratiano, and he does a good job.In the role of Nerissa we see Heather Goldenhersh.Mackenzie Crook plays Launcelot Gobbo.As in Shakespeare plays usually, also this one contains most brilliant dialogue.The movie paints a fantastic portray of the era.It deals with some great issues, in a Shakespearian way.
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user\nMy guide for the quality of the a movie is if I'm still thinking about it after leaving the theater. I'm still thinking about this one the next day, which doesn't happen often.
The scenery (a reasonable guess for 16th century Italy), costumes, lighting, cinematography are all excellent. It is a beautiful film visually.
Characters can never rise above the script they must recite, but these actors made the most of their material, which is excellent. This is one of Shakespeare's best plays, which people will still enjoy another 400 years down the road. All of the principals were interesting and enjoyable.
Those who say this is anti-semitic must be deaf and blind. If anything, it is anti-Venitian-16th-century-Catholic. While Shylock plays a man controlled and tortured by the hurts he has suffered, it is clear that the society in which he lives is largely to blame. The script clearly places his personal responsibility where it belongs, as well.
A great film.
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user\nThe Merchant of Venice is a fantastic movie. It's very true to the original Shakespeare play. If you saw Jeremy Irons in Casanova and liked his performance, this is a movie for you! If you saw Joseph Fiennes in Shakespeare in Love and you enjoyed his performance, this is a movie for you! If you saw Al Pacino in Donnie Brasco and liked his performance, this is a movie for you! It is a very enjoyable movie and if you're studying Shakespeare like me, this is a great movie to see!! The only problem with this movie is that you can't let the little ones see it because is has a wee bit of nudity in it. But other than that, it's a really good movie!!
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user\nA few thoughts before I get to the heart of the film: 1) I have never seen so many bare breasts in a film before, displayed in so many non-sexual scenes -- it was weird; 2) Joseph Fiennes, where have you been? You charmed us in *Elizabeth* and *Shakespeare in Love*, and then you went away for awhile. Mainstream American wants more! Okay, I'm a college English professor, I have read this play many times, and this is probably the best film version I've seen of it. While individual aspects of other productions may have stood out, this is the overall package put together well. Pacino is no Olivier, but he doesn't need to be, so get over it! The film's cinematography is stunning and not just because of the bare breasts. Venice is portrayed amazingly, and you do get a feel for really being there. Portia's residential island is amazingly beautiful, and the lighting is always tinted the proper way for the scenes' appropriate moods.
The anti-Semetism in this film/play is hard to watch, especially at the end. Pacino's dropping to the knees and clutching his religious artifact is perhaps the most powerful moment of his on film since *The Godfather Part III* (when Michael's daughter is gunned down on the opera steps). Is the play anti-Semetic? Sure. Is *Othello* racist? Sure. Take it for what it is: a commentary on the Elizabethan era, not a commentary on today.
Fiennes is underutilized in the film, but still a pleasure to watch. The women in the film are alright; no one really stood out here, but they do blend in nicely with the scenery. Jeremy Irons and Pacino are excellent in the two juiciest roles, adversaries until the end. I've always felt Irons was underrated (I still get chills when I hear his voice from *The Lion King*), and Pacino is Pacino.
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user\n\"The Merchant of Venice\" was one of Shakespeare's most popular plays during his own lifetime, but it has fallen on hard times during the 20th century because of its undeniably anti-Semitic content. The play has also been called schizoid in its careening from comedic scenes to tragic ones, leading some to say it is two plays trying to coexist as one. Bassanio (Joseph Fiennes, who played William Shakespeare in \"Shakespeare in Love\") is in love with Portia (Lynn Collins, superb), but needs to borrow a considerable sum of money to woo her. He goes to his sometime gay lover Antonio (Jeremy Irons), who hasn't the funds on his person, but takes out a loan from the Jewish usurer Shylock (Al Pacino). Shylock is amused and offended that Antonio, who insults him for his religion, now comes to him for money, but he offers it, on the condition that the penalty for defaulting on the loan will be a pound of Antonio's flesh. Which is, of course, what happens. Bassanio and Portia offer Shylock considerably more then the original loan instead of the pound of flesh, but Shylock, distraught after his daughter leaves him and marries a Christian, refuses to take it. Portia, in a scene where the audience is never quite sure where to place its sympathies, deprives Shylock of what should be legally his, and then strips him of his wealth and religion. Shylock was originally essayed as a cartoonish villain, but modern actors and directors have turned him into a tragic figure, railing against the injustices of 16th century Venice. Al Pacino does an excellent job as Shylock, and Jeremy Irons is good as Antonio, but I think that Lynn Collins' work as Portia is the best part of the play. Portia is one of the few notable female roles in Shakespeare's canon, and Collins is wonderful in the part. Joseph Fiennes is more than a bit dull, however; I've never particularly enjoyed his often overwrought acting style. I give \"The Merchant of Venice\" an 8/10.
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user\nThere were at least a half dozen silent-film versions of Shakespeare's \"The Merchant of Venice,\" and there have been several television productions. But no one has ever gotten around to making a big-budget theatrical feature from the play . . . until now. Given the nature of the play/s most memorable character, Shylock the Nasty Jew, it's a good guess that the little unpleasantness that transpired in Europe in the late 1930's and 1940's may have dampened filmmakers' enthusiasm. Sure the main motivation for Michael Radford's new film is to provide Al Pacino with a chance to shout, bray, brood, mutter, and be tormented - all of which he is quite good at. Like Richard III, the role of Shylock is a scenery-chewer's dream. It is ridiculous to call Shakespeare an anti-Semite, since he never met a Jew. Jews were banned from England from 300 years before his time to some decades after his death; and its unlikely that he ever traveled abroad. On some level, Jews might as well have been a mythological race to him. But, while Shakespeare may not have been anti-Semitic, his play certainly is. Pacino gives Shylock a strange accent that is probably meant to suggest the slightest hint of Yiddish. Unfortunately, the result is a 16th-century moneylender with the unmistakable diction and cadences of Fozzie Bear. Radford's version begins with a crawl about the wretched teratment of Jews and then spot Antonio (Jeremy Irons) gratuitiously spitting on Shylock (Pacino), who's really just standing around, minding his own business. Will buy it when it comes out on DVD, for sure! Sarge Booker
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user\nhaving never actually seen anything by this beloved of the luvvies, let alone a production of merchant of venice, i cant comment on how faithful it is to previous adaptations of the play so i will treat it as just another movie that tries to be more than novocaine for the eye MoV is an instantly gripping movie about a young lover bassanio (fiennes) and his merchant friend antonio (irons) and a Jewish money lender shylock (pacino)
plot summary
bassiano is broke and needs money to woo the lovely portia (collins), he goes to his friend antonio, who sypathises with his friends predicament, so borrows some money off shylock
now antonio does not like jews in general and shylock in particular and shylock bitter and twisted from the abuse he has suffered from antonio in particular and christians in general agrees to lend antonio the money on condition that if antonio does not repay the loan by the agreed deadline, shylock will cut a pound of flesh from antonios body
comment
the movie is breathtakingly beautiful and acted and spoken in such a way as to force you to think about what each line means, this in turn causes the viewer to gain insights into the characters and their motivations
it seems to me to be a movie about the choices that shylock makes, and how making wrong choices leads to shylocks ruin
from the moment shylock demands his pound of flesh he is doomed, for rest of the world is against him and connives to bring about his downfall
this disturbed me greatly, normally in a movie when a victim gets a chance of revenge against those who have harmed him either the victim succeeds or makes the villain see the error of his ways leading to a big hug
not in MoV the victim quickly becomes seen as the villain and is stripped of his fortune and faith
this movie is a powerful and subtle portrayal of casual anti semitism which shows how a whole society can turn on a minority and make it seem like the victim is really the offender
i was blown away by this movie 10/10
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user\none of my favorite lines in Shakespeare.
i.e. *we're not finished with you by a long shot* so not only does Shylock not get his pound of flesh, or the 3,000 or the 6,000 or the 36,000 (each of the 6 parts were a ducat) ducats, in a matter of minutes he is ruined by having to forfeit all his possessions. and his daughter has long abandoned him already.
vengeance is a dish best served cold. but Shylock's attempt at revenge totally backfires.
I suspect this play was and is popular because it caters to the wish we have for justice. but the hard reality is the world is engulfed in injustice and most of it stands. a few big names get tossed in jail, sme gang punks lose their turf to the 'good guys' but in reality most of the time it's the other way around.
but not in this play. the long howls of racism and antisemitism forgets that it could well have been any other social outcast group that gets the comeuppance, it's just that the money lenders of the time were Jews and therefore the needs of the story line puts Shylock the Jew into the role of villain.
Merchant of Venice is my 3rd favorite work by Shakespeare, 1 and 2 being Hamlet and Macbeth. this production gives excellent treatment of the moral of the story. the scenes with the suitors alone is worth watching. also the awkwardness of the new husbands squirming and minimizing the fact they let the rings so easily slip away that they had sworn to keep forever. in real life, this trick is the thing that spouses coyly use to remind their better half that promises MUST mean something and not be made frivolously. there is far deeper significance to this play than just the comedy/dramatic aspect. it is about loyalty, commitment, and love.
well worth watching over and over.
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user\nPeople have often been uncomfortable with \"The Merchant of Venice\", due to its anti-Semitic subject matter. Fortunately, this movie avoids that, opting instead to show how anti-Semitism reigned supreme in 16th century Europe. The story, of course, is that Antonio (Jeremy Irons) needs money so that he can help Bassanio (Joseph Fiennes) ask for Portia's (Lynn Collins) hand in marriage. He gets the money from Jewish usurer Shylock (Al Pacino), who demands a pound of Antonio's flesh if the latter doesn't pay back the loan. When Antonio can't pay back the loan, Shylock is determined to get what is owed him.
We would expect this cast to do a good job, and they don't disappoint. It is yet another testament to what a great actor Al Pacino is.
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user\nhello. hello and goodbye. but, before i go, i want to talk to you. i just want to quickly mention a few keys points about this film. the first being erotica. especially homo-erotica.
yes, well. let us begin. When a man and a man love each other very much they fuse together in a spectacular, not to mention tender, explosion of cinema which we call merchant of venice.
the homo erotic love was sensual at worse. and even more sensual at best. it was hardcore and emotional. it touched me inappropriately and I'm pretty sure i touched it back. and when no one was looking i touched myself a little too.
i laughed because portia was denied. she was second in line to our friend, the homo erotic love. oh antonio. antoni. just toni. i love you. more than you loved that guy. whos name may or may not have contained an \"B\". he was well ugly.
antoni was very greasy. he lathered his body in an encasement of his own hair grease and sensual juices and proceed to writhe accoss the screena and present himself to the guy with the name i like the movie in conclusion, go see the movie if not for the homo erotic connotations, for the love of a man such as antoni. just toni.
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user\nWilliam Shakespeare's Merchant of Venice portrays 16th century Venice. Al Pacino plays Shylock, a Jewish loan shark who plots revenge on a Catholic that has looked down on him. The movie is a slow moving plot in the beginning that builds up throughout the two plus hours. The film gives a very good and believe appearance to it's characters, especially Pacino. When hearing that Pacino plays a Jew one might think that it would not work looking at Pacino's previous mobster type movie roles. Nonetheless it works very well, credit must be given to the costume designer's and director's of the film. The look of all the characters fits well with the time period the play takes place in. The costumes look like the Renaissance appearance one might envision to be.
The film portrays a very anti-Semitic vibe. From the first minute to the last it is shown how the Catholic's try to take advantage of the Jews in every way they can, even to the point of keeping them locked away in \"ghettos\" and not allowing them to regular jobs. In comparison to The Passion of the Christ, another recent film that people believed to be very Anti-Semitic, Merchant of Venice makes Passion look like a Jewish holiday. The film shows how the Jews, or at least Shylock wanted revenge for the mistreatment that the Jews received. The location shots also seem very timely and the scenery is at times very beautiful or very ugly depending on the scene of the film, making it just that much more realistic. Showing the beautiful and the ugly can also be seen as anti-Semitic because the ugly is usually shown around the Jews and the beautiful around the Catholics.
Although the film clearly attempts to have a serious aura certain parts do add a bit of humor to the act. The oh so serious trial between Shylock and Antonio (Irons) adds a bit of humor when Portia (Collins) and Nerissa (Goldenhersh) come into the trial and decide who will be the victor and the defeated. That in itself might not be funny, but seeing it that they were women dressed up in disguise as men one might find it to be pretty amusing. The whole cross dressing scene, as compelling as it was could have probably been even more memorable had the make up artists and director Michael Radford taken notice that the two women still look like women and could easily be recognized. The director also could have seen into the fact that the women are speaking through their regular voices instead of trying to sound like men, which in part takes away from the scene but doesn't kill it entirely.
Overall the film gets a 7 out of 10
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user\nWhat can I say? The little kid inside has always had great affections for the following...giant robots, giant monsters and a cackling, megalomaniacal lead villain and this movie delivers on all counts. As an adult, it's easy to point out the many flaws in this film and to say hey it's really only a bunch of episodes taken from a children's TV series strung together. Despite all of this, I find the ending very moving and the content surprisingly adult in nature. Tremendous Fun if a little nonsensical at times.
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user\nThis is a cherished movie from my childhood!! I can still hum the theme song at the drop of a hat!! I remember getting to stay up late to watch this movie with my father, usually two to three times a year. We always referred to it as \"Giant Robot\". Although the effects in this movie are crude compared to today's standards, they were perfect for this movie's genre. I am also a BIG fan of the Japanese \"Monster\" movies, so this movie fell right in to place with the others. It's been years since I've seen this movie & would love to get my hands on a copy of it to share with my 8 year old daughter.
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user\nI remember running home from school almost every day to catch KTLA's channel 5 monster movies, but never did I run home faster then when this movie was scheduled. Somehow, the idea of being a boy and having a giant robot as a friend appealed to me in a very unique way. Sure, I pretended to be Spiderman, Batman and other superheros, but I really wanted to be Johnny Sakko over any of them.
I have not seen this movie in 30 years and I can still remember it vividly. Who can forget the way Giant Robot shot missiles out of his fingers! Or how about the way Ghuillotene threw his fingernails to make explosions! Geez, I can even still whistle the theme music that plays at the end, which is so tragic that I remember crying myself to sleep a number of times!
Only one other movie has the kind of magic that this movie does in my mind and that is the Wizard of Oz. But I have seen that movie many times since I was a kid. Of course, the Wizard of Oz is a true classic whereas Voyage Into Space is low budget nonsense. These two films shouldn't even be mentioned in the same sentence but to a young boy it isn't high production values or continuity that capture your heart, its flying monkeys and giant robots!
P.S. My cousin use to do a very accurate impression of Giant Robot (he pronounced it \"Giant Robutt.\") If you recall, Giant Robot had a particular way of shooting his missiles and my cousin had it down cold. I made him repeat the routine endlessly for my personal amusement.
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user\nIf you love Japanese monster movies, you'll love this action packed battle pitting an alien invader, intent upon conquering the Earth, and a \"Giant Robot\" with an armory of super weaponry. The alien, \"Emporer Guillotine,\" from the planet Gargoyle, has a army of thugs called, (of course) \"the gargoyle gang,\" as well as an endless supply of immense hostile creatures that are routinely loosed upon the Earth to smash buildings, make loud noises, panic the populace, etc. A little kid, named Johnny Sokko, has the Giant Robot at his beckon call, and sends the Robot, as needed, to beat up, and then blast these creatures. Johnny joins a group of \"good spies\" called Unicorn, and endeavors to help save the world.
In spite of the campy nature, unintentionally humorous dialog, and the fact that the target audience was obviously children, this movie has non-stop action, colorful characters, decent special effects, and just happens to be downright fun to watch. Battle scenes are well executed, and frequent, as the storyline requires. The good guys and bad guys both made sure they had an inexhaustible supply of bombs, lasers, ammunition, and schemes to attack each other. In spite of the fact the movie was constructed from edited episodes of a TV series, the plot actually develops, and reaches an ultimate conclusion.
The film has a positive outlook and appeals to everyone's (especially kids') desire to destroy evil in its many forms. Kids may be the target audience, but it's fun for everyone to laugh at its comical silliness; yet, at the same time, root for the good guys to prevail and \"save the world.\" The acting is cheesy in places, but that is the charm: there are several lines of corny dialog (possibly translation errors or possibly intentional jokes by the movie makers), and you'll find yourself quoting these absurd lines later.
Admittedly, this film is not high in production quality or budget. However, for what it is, campy sci-fi, it's enjoyable for some laughs. I recommend it to anyone with a sense of humor for that sort of thing.
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user\nOK, I admit it, I'm 40 and still shed a tear every time I watch Johnny calling back his Robot at the end.
\"Robot, now stop! Don't do it, stop the attack...Robot, what are you doing, Robot... Robot, where are you goingRobot, come back! Robot...Robot please! Don't do it, you'll die... Robot... Robot, please comeback! I need you hereGiant Robot... Robot! Giant Robot\" -Johnny Sokko, The Last of Emperor Guillotine
Of all the Tokusatsu thats out there, Giant robot has a special place in my heart and will always be there. I credit it with getting me into everything sci-fi and anime when i was a kid.
LIVE ON GR!
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user\nFour or five episodes of Johnnie Socko and his Flying Robot edited together. Amusing giant robot battling giant monsters tale aimed squarely at kids. Parents of course will go crazy since the action is violent with the robot/monster battles resembling professional wrestling and the human on human violence the sort of stuff you'd find in the Al Capone St. Valentine's Day School and Gangster Training Academy. I liked it, but then again I grew up on the series. If there is any problems, other than the \"men in suits\" effects variety is that the movie plays like a series of episodes stitched together, with a climax coming every 20 minutes. Recommended for those who've run out of Ultraman or Godzilla
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user\nWhen I was growing up, Voyage into Space was my most favorite movie. I remember the time when KTLA (Channel 5) ran the movie for the whole week and me and my sisters watched it every single day! I still remember every part of that movie. The ending was so sad when Giant Robot got blown up along with Guillotine and then watching Johnny Sokko with all the tears running down his face calling for Giant Robot. There should have been a sequel to the movie, in which Giant Robot somehow survived the explosion. :) I can't believe that there are so many other Voyage into Space fans still out there. I really want to buy the movie when it comes out on DVD, but my sister said that the ones out there now are bootlegged and probably bad quality copies of the movie. I don't know why they haven't released it yet, since it's been over 40 years now. I think Voyage into Space was made back in 1968. Only now, my second favorite Japanese monster movie of all time (The War of the Gargantuas) is finally coming to DVD and being released on Sept. 9th and I can't wait! :) Now if only they would do the same with Voyage into Space. Giant Robot, Johnny Sokko, and Voyage into Space will never be forgotten! In my eyes and probably many others too, it will always be a childhood classic to me! :)
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user\nAlthough many have mixed feelings about this latter day giallo thriller from Argento, it still stands as another lavish testament to the cinematic brilliance that is Argento.
A young opera singer has her first break out performance and suddenly finds herself the subject of obsession for a crazed maniac.
In a way, Opera is like a modern-day giallo take on Phantom of the Opera blended with all the glorious style and color that one would expect Dario Argento to deliver. Argento makes terrific use of inventive camera techniques, reoccurring symbols (like those ravens!), Gothic atmosphere, and truly gruesome murder sequences. One scene especially (which involves a peep hole and a gun) will knock viewers right out of their seats! Story-wise the film also manages to be gripping with some strong suspense and given great atmosphere by Claudio Simonetti's gorgeous music score.
The cast does some satisfying performances. Cristina Marsillach is good as our leading lady. The late Ian Charleson does a nice turn as the director, as does Urbano Barberini as an investigator, Daria Nicolodi as Marsillach's agent, and William McNamara as Marsillach's ill-fated lover.
Opera is terrific latter day Argento, and perhaps the last of his great works. It's sure to please his fans and even create some new ones.
**** out of ****
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user\n\"Opera\" is one of the greatest achievements in horror genre. This masterful picture has everything what should be in the pure horror movie:good, captivating story, a lot of symbols, wonderful visuals and plenty of gore. The killings are very shocking and bloody. An unforgettable atmosphere of dread and fear. A must-see for a true Argento fan, so if you get a chance watch it.
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user\nIf you're OK with the outlandish work of Italy's premier horror directorable to accept his outrageous story lines and flamboyant stylethen you should have a great time with Opera. If you don't, then you won't.
Cristina Marsillach plays Betty, a beautiful young opera understudy who is given a shot at fame (in an avant-garde production of Macbeth) when the star of the show is hit by a car. As any thesp who has 'trod the boards' will know, Macbeth is a production that carries a curseand Betty soon discovers that the show in which she is now the star is no exception: a killer is systematically offing the staff at the theatreand poor Betty is forced to watch by the sadistic murderer (who tapes needles under her eyes to prevent her from closing them!).
With the help of a little girl who crawls through her air-conditioning ducts, her director and agent, and a few ravens who have seen the murderer's face (!!!), Betty discovers the killer's identity, and the truth about her mysterious past.
Let's face it... Opera is one crazy film, with its preposterous plot-turns, convoluted death scenes, and an ending that beggars belief. And whilst director Dario Argento has never been one for, shall we say, conventional story lines, this particular giallo is so daft, and features so many of his trademark stylish touches (all ramped up to the max), that it's almost as if, with each successive film, he is seeing what he can get away with (at times almost parodying his earlier work).
This is exactly why I find the film such fun!!!
Argento's camera movements are absolutely incredible: gliding, creeping and, in one amazing scene, even swooping around the opera house above the audience; the power of Verdi's music is combined perfectly with the synth majesty of Claudio Simonetti's score, providing a suitably grandiose accompaniment to the sumptuous visuals; and several outstanding set-pieces (featuring Sergio Stivaletti's nauseating gore FX) go to prove that no-one does death better than Argento (check out one character's stunning demise, in which a bullet passes through a spy-hole in a door in slow motion, and straight into their eye!).
7.5 out of 10, rounded up to 8 for IMDb.
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user\nI finally managed to get myself a copy of Dario Argento's Opera, and I tell you ... that was about time !! It was the last Argento movie I had yet to see and I'm a fan of most of his work. I reckon that most of his work is extremely important for the genre of horror but some of his movies tend to disappoint ( like Phenomena ). But the plot idea of Opera always appealed to me and it turns out I was right !! I enjoyed every shot in Opera and I was fascinated by this movie for the first minute till the last. Out of all the Argento movies, Opera went straight to the number one spot and I hope I can encourage as many people as possible to see this one as well.
The script and plot-idea of Opera is rather simple. Especially compared to Argento's previous movie Phenomena that had too many ideas in it, and ended up being a mess. The plot of Opera is creepy and chilling but at the same time it's an excellent satiric comment - almost a spoof - towards the opponents of explicit violence. ***SPOILERS*** A young opera singer ( the gorgeous Cristina Marsillach ) is being stalked by a horribly sadistic murderer. During every massacre he commits, he forces Betty to watch his actions with her eyes wide open. There are needles attached to her eyelids and when she closes them, they're getting torn apart. ***END SPOILERS***. To this simple - yet effective - idea, Argento adds a lot of horrific elements like ravens, the classic piece ( and curse ) of MacBeth and the whole atmospheric location of the opera building and the music. Especially the presence of the creepy ravens are and extra value. Ancient masters like Edgar Allen Poe already knew these black birds have a lot of mystery hanging around them, and Dario Argento knows it as well.
The violence and gore is very well presented in Opera and that's what makes this a true Argento picture. His best in my opinion with Profondo Rosso as a close second. I surely hope to recommend this movie to a lot of people among you. Especially for fans of the ( Italian ) horror business, this is an absolute must ! Favorite \"Rewind\"-scene : Argento shows his visual talent the best in the scene where Betty's friend is getting shot in the eye while she's trying to see who's in front of the door.
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user\nOpera (the U.S. title is terror at the opera) is somewhat of a letdown after some of Dario's other movies like Phenomena, Tenebre, and Suspiria. (i still can't find Inferno anywhere.) it's one of those movies that has a great first half but midway through it's like someone started slowly letting the air out of the screenplay and logic.
the basic plot involves a beautiful opera singer who is being stalked by a deranged obsessed fan. this killer begins killing people close to her in a most unique fashion. he binds and gags her and tape tiny sharp pins under her eyelids so if she tries to close her eyes she'll gouge out her eyes. this forces her to watch while the killer murders her acquaintances in typically brutal and gory Argento fashion.
unfortunately, about midway through the film becomes sluggish and illogical. (this is especially directed towards the killer's motivations. i still haven't completely figured out why he's such a nut.) the ending especially come out of left field in the worst possible sense.
but, for about the first hour or so this is some of Dario's best filmmaking and the camera work is breathtaking. too bad it couldn't maintain it through to the end.
rating:7
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user\n\"Opera\" is a great film with some wonderful,imaginative imagery.An opera singer(Cristina Marsillach)is being stalked by a killer who forces her to watch him murder everyone she knows by tying her up and taping needles under her eyes.This idea of the needles comes from the fact that Argento doesn't like it when people cover their eyes while watching his movies.\"For years I've been annoyed by people covering their eyes during the gorier moments in my films.I film these images because I want people to see them and not avoid the positive confrontation of their fears by looking away.So I thought to myself 'How would it be possible to achieve this and force someone to watch most gruesome murder and make sure they can't avert their eyes?'The answer I came up with is the core of what \"Opera\" is about.\"-says Argento.Plenty of suspense,wonderful cinematography and brutal,gory murders.One guy is stabbed in the throat with a knife causing a gushing wound,Daria Nicolodi gets shot in the eye while looking through the peephole,etc.For anyone who hasn't caught this one yet,give it a try.Highly recommended.
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user\nAfter the lead actress of the opera is killed in a car accident, her young understudy, Betty, is brought to the forefront. That's very lucky for her, with one problem: she has an admirer that has decided he will kill all her friends and make her watch. What is his connection to the opera, and what is his fascination with Betty?
I love Dario Argento with every part of my body. And I'm not an orthodox fan, I think. Many people, particularly critics, praise his earlier work (\"Suspiria\" and \"Deep Red\") but really frown on later films, such as \"Sleepless\", which I liked. My favorite, \"Phenomena\", is usually vastly underrated. \"Opera\" tends to fall somewhere in between. Some consider it one of his last great films, others see it as part of his so-called decline. I loved it.
The picture is crisp, the music is great (unlike other critics, I love the metal soundtrack), the female lead is someone I can feel for (not unlike Jennifer Connelly from \"Phenomena\"). And the imagery... wonderful. Great cinematography, and some amazing kill scenes. The concept of taping needles to a person's eyes so they cannot blink... brilliant. My assistant Tina thinks this looked fake, but even if it does, the idea is more than enough to pay off. And some great effects, like a knife blade coming up inside a man's mouth? Awesome.
Jim Harper calls the film \"stunning\" and calls attention to the \"innovative cinematography, well-constructed shots and exceptionally violent murders.\" I agree with this completely -- one shot follows the camera through winding tunnels, and there is a very interesting visual use of crows throughout the story. Mike Mayo likewise calls it \"visually fascinating eye-candy\" and lauds the \"crisp editing and flowing camera-work\". It's really a wonder that this is not one of Argento's more highly-praised works.
Argento returned to the opera with \"Phantom of the Opera\", which was a bit of a failure despite the casting of his daughter Asia and Julian Sands. Even more interesting, this same year offered the release of Michele Soavi's \"Stagefright\", which (like \"Opera\") has a killer loose inside a theater killing off the people involved with the presentation. Both are great films, with Soavi's more on the slasher side. (Soavi actually served as second unit director on \"Opera\"... you can make your own conclusions.)
My only complaint with this film is the length and pacing. While it is very beautifully shot and the kill scenes are glorious, they are not as frequent as they should be. The first one takes over a half hour, and then we get down times between them. The lead actress should be in constant terror, but she is given time between kills to calm down as if everything is normal again. Not cool, Dario. We need to keep the suspense low and the intensity high.
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user\nAn opera diva has an accident, which leaves the door open for her understudy to take over the role. Betty (Marsillach) is now the star of Mac Beth, but someone hiding in the trenches has an opera of his own planned out. He gets his kicks out of tying Betty up, putting needles under her eyes (so she cant close them) and murdering members of the opera company before her very eyes.
\"Opera\" is certainly one of Argento's more ambitious films, like mixing it up with Shakesphere's Macbeth there is of course the fact that the opera performed in the film is Giuseppe Verdi's version of Macbeth but also Argento, just like Shakespeare uses ravens as an omen of death and misfortune. And like the ravens circling the castle Dunsinane, foreboding the demise of the scheming Macbeth, the ravens in OPERA play a key part in the downfall of the killer. Furthermore just like in the old play the murderer acts on the exhortation of his lover. But I don't want to go as far as saying OPERA is intended to be a remake of the either The Phantom of the Opera or Macbeth, the similarities are far too subtle. It's just a typical Argento masterstroke, and with it he gives this otherwise quite basic thriller a vivid hue of Gothic mystique.
Although this movie does have it downsides like the heavl metal soundtrack just doesn't fit in with this movie and the final scenes in this movie are a bit strange.
All in all \"Opera\" is something of a flawed masterpiece but still good.
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