empathielabs/imdb_v0 huggingface dataset:
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSome people are born with mourning souls with their song sung singularly until they encounter another soul as tortured and/or as bitterly sweetly beautiful as their own and an unusual magic happens. YOU ARE ALONE is a brutally honest look into two tortured souls that intertwine for a moment of understanding and oneness only to be torn apart by the differences in the oneness between they're pain. Death is explored figuratively and literally. It is what happens when ones soul is dead or similarly too alive, too awake to reality. It is the life NOT which you imagined behind the eyes of passer-by's. This film explores the aching pain in us all, the frown beneath the cheery facade, the ache below. The ugly instinctual animalistic thoughts and acts become honest and matter of fact and then Bechard sprinkles a dash of unexpected innocence and beauty into the mix knowing both linger in us all. Bechard, the writer, is a expert observer of the human condition and because of his non judgmental attitude presents life in a light we often shield our eyes from but yearn to see and understand. He, as director, focuses on the nuances of the actors spirit that shines through the character they're playing to the actors own personal familiarity with the emotions brought on by each situation. This is the most accurately written and directed character portrayal of a man and woman's experience together I have encountered as of yet, even though the two characters encounter is probably not the \"normal\" encounter.
The soundtrack encapsulates in each songs lyrics what the characters would let their hearts spill out if able and strong enough. It is each characters real voice sung through the beauty, pain, talent, and emotional intelligence of emerging indie artists ready to explode onto the alternative music market. The perfect soundtrack for those of us with issues - those of us who admit that we have issues and those of us that hide it.
I always enjoy exploring the darker sides of life with Mr. Bechard's both fascinatingly creative and realistic view of life and the characters that revolve within it.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI am a film directors nightmare... especially of the mega buck, multiplex variety. While not a student of the art I still have a high threshold for disbelief suspension and buying into the film maker's vision, if I can find it. That's why a gem such as 'You Are Alone' is such an exhilarating find. The intimacy and pacing drew me in and never let me go. Jessica Bohl and Richard Brundage give thoughtful nuanced performances and director Gorman Bechard displays a deft hand in presenting what is an understandably disturbing day in the lives of two terribly damaged people.
Spoiler below
I bought the DVD version and have shared it with several people. The reactions have been varied, from disbelief in the ability of Daphne to complete the assignment for which Buddy has paid her to an inability to watch the whole film because it was just too real and emotionally devastating. As a compulsively skeptical moviegoer I have to be either grabbed by the collars and hauled for the ride or sidled up to and seduced by the filmmaker. This film took the later route for me and by the end I was so involved that I felt Daphne's horror and pain at her role in Buddy's demise. My reaction to this film reminded me of watching 'The Cook, the Thief, His Wife and Her Lover' by Peter Greenaway many, many years ago. By the end I was fascinated and repelled and utterly unable to tear my eyes away from that film too. I've watched this film several times now and truly appreciate the eye and ear the director has demonstrated. I am familiar with other works he has been done including a couple of cheeky movies, 'Galactic Gigolo' and 'Attack of the Killer Bimbos' and a mixed bag 'The Kiss' which I recently learned was killed in the cradle by the producer and doesn't really represent the directors vision. Too bad, because I loved the prior two films and even found 'The Kiss' interesting but wish 'The Kiss' was available in a director's cut with all of the original vision and music in tact. I look forward to future work by this interesting director and the leads Jessica Bohl and Richard Brundage.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis was a fantastic movie about two people, one a young teenage girl, and the other, a middle aged man, who are each looking for someone to help them fulfill a certain emptiness left by former loved ones.
Both actors give brilliant performances that various audiences can relate to. The script, although written by Gorman Bechard, seems as though it was written from a woman's point of view. And at the same time, men can relate to the male characters because of how well they were developed and described in the movie.
The end of the movie has an unusual but powerful and unexpected twist that leaves you speechless. I would recommend this film to anyone who has ever felt lonely or abandoned by a loved one. It is clear in this film that you are not alone.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis film is Engaging and Complex while maintaining simple beauty .Our two characters come together sharing the base of curiosity and loneliness, but it is a springboard for learning these people, they 're life styles and pasts which support this.
The two lead actors (Bohl, Brundruge) were in the moment as any two actors I have ever seen. %100 believable, they transport the audience seemingly effortlessly, into their world. The actors' seamless acting teamed with Bechard's Beautiful, realistic dialog and his truthful direction drives the story forward into a striking and moving finale.This film is visual treat- soft ,increasing the intensity of The story. The soundtrack serenades the viewer, soothing yet drawing out the emotional content of the film. I find this project to be nothing short of a masterpiece. intriguing.intense.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis movie is like Happiness meets Lost in Translation with a Sixth Sense ending (or maybe a Crying Game surprise), and the best soundtrack I've probably ever heard...if that all make sense.
The first 30 seconds pretty much tells you you're in for a twisted ride. (I was surprised no one walked out right away during the Brooklyn premiere.) But from there, the film settles down into a talk-fest between two really damaged people, Daphne and Buddy.
They're lonely, mess-up, and boy do they talk about sex. Daphne brings to life her most interesting tales of escorting, some are quite funny (Mr. Chang) some disturbing (the Harlan scenes with music that tells us what we see might now be what's going on, or what Daphne is really feeling), and because I have a friend who used to escort, I might add, most seem quite real.
You Are Alone is multi-layered and mostly brilliant. Okay, maybe a couple minutes less of the talking, and I don't know that we'd have missed anything.
Then again, I need to see it again knowing the ending.
I like this movie.
(The director asked people in the Brooklyn audience to write a review on IMDb because a lot of people read them. Request granted.)
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI saw the film at the Brooklyn International Film Festival (World Premiere).
A haunting, intimate portrait of Loneliness, and the repercussions of letting it grow and turn into something darker.
The acting of the two leads (Jessica Bohl & Richard Brundage) is excellent, and makes one wish you had met these characters before they became so damaged.
Reminded me in theme of the works of Atom Egoyan (Exotica) and Raymond Carver (Where I'm Calling From).
The Soundtrack (Tywanna Jo Baskette, Crooked Fingers) is excellent and reinforces moments in the film without drawing attention to itself.
Highly recommend the Film and the Soundtrack.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI had actually considered investing in this movie when Gorman was out drumming up funding. I loved most of the script but did not like the ending. Gorman insisted the ending was as it had to be.
Seeing the completed movie I have to say I am amazed. Reading the script I had not imagined the acting (and Gorman's directing) would be as powerful and moving as it is here. The two leads did an amazing job. They were very believable and this movie is well worth watching just for the performances of these two amazing stars.
Now, for the spoiler and if you have not seen the movie please don't read further as you need to see the movie first. (I actually wish I had never read the script just so I could have experienced the movie ending first hand.)
----------------------------- SPOILER
I have two main problems with the movie. First off, and I'm sure I mentioned this when I read the script, the wife should have died. If she were dead the ending would be much more believable. As it is, we have this guy who has been agonizing over a woman who left him 'years ago.' If she left him and he is still in love after so long he'd have to be seriously delusional. But he doesn't come across that way in the script. (There is also the problem of why he did not expend all this energy going after the wife he still loves.)
Plus, if the wife were dead we would actually be able to believe that they had a fulfilling, reciprocating love, and therefore believe that the guy is devastated enough for the ending to be reasonable.
However, I don't buy Daphne doing what she does in the ending. I'd need a heck of a lot of convincing to believe that this naive girl (very naive for a whore but believable due to Bohl's performance) did what she did. The character is simply not cold enough. And if she did this out of some kind of love, or something else, then there is a whole piece of the movie/story missing.
Much of this movie is reminiscent of \"Sex, Lies, and Video Tape.\" I think it could have been as popular if Gorman had chosen to give the movie a more believable ending.
So watch the movie, enjoy the performance. And make up your own mind.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis really is a movie that you need to see twice. When I first saw this film I was really drawn into the story. While the majority of the story takes place inside of a hotel room, the stories that Buddy (Nick Drake, wonderful allusion) and Daphne share take you outside of their room and into their world. Through their conversations you get a feel for the loneliness and pain that each feels. The soundtrack accompanies the movie perfectly, dark, lo-fi and intriguing. When you see the film the second time around you can pick up all of the clues that you missed the first time around leading up to one of the best ending I have seen in a long time. I hope to see this movie find a distributor for the DVD so that it will be more accessible. Great movie, you won't be disappointed.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nOne of the BEST movies I have seen in a very long time. Bechard has a way of looking at things that is completely unique and this movie does not disappoint.
This movie has you guessing throughout, and with the seemingly taboo topics addressed it keeps you glued to the screen. There are no bad guys or good guys, Bechard makes sure of that. The characters are so perfectly complex you feel for each of them, you care about what they have been through.
Bechard's use an attention to details is unmatched in this world of \"FAST FOOD MOVIES\" and while some of the topics may make some uncomfortable - you love the feeling it gives you.
I have heard it said too often that there are no NEW stories to tell. Thank you Gorman Bechard for proving that false.
Run, don't walk, to see this movie.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAlthough it was dark, depressing, and at times hard to watch, You Are Alone held my attention and was refreshingly honest in its dialog. It truly captured the angst of teenage romantic relationships. In addition, the soundtrack was amazing. The lyrics and the tone of the songs complemented the sadness of the film so well that it made you wonder if the tracks were created specifically for the movie.
Jessica Bohl is the best actress I have ever watched. Her compelling and believable performance made the movie. It made me wonder if she really IS a prostitute. Who knows. Anyway, the movie was very worth seeing. LOVE, YOUR SISTER! yeah, that's right....
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI just saw this film at the Sidewalk Film Festival in Birmingham, AL, which was actually a really fun festival, and was blown away by it. It was the best movie I saw all day by a long shot. A school aged prostitute meets with a middle age man and attempt to end there deep depression together. It's an inner look into the darkest parts of human sexuality. Story stems from real life occurrences, ripped straight from the headlines. Raw, blunt dialog and a killer twist at the end. The film does contain graphic sexual dialog and nudity. Definitely not suitable for kids. Too depressing for some people's tastes. Definitely worth checking out in my opinion though.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nGood show, really good acting, and the director takes us swimming through his storyline in an interesting, unpredictable way, especially since, essentially, it's two people in a room. It doesn't race through like many modern films, but doesn't drag, either. Bohl is flippant enough to believe her in the \"now\" of her character, which is still involved and not going back on her 'career' choices - so it is believable without the need for her to show us a deep, self-examination of her soul...Brundage has the delicate balance of weight, innocence, meekness, and class to pull off 'Buddy' very well. A bit grainy on the film quality, but it fits the tone of the story. Could use a little polishing on the hair and makeup end of things, but definitely worth watching.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nVery literate, intelligent drama about a group of international travelers held virtual prisoners in the Hungary of 1956 by invading Russian Communist regime. Kerr and Robards play lovers, she a British baroness, he a Hungarian freedom fighter trying to do his bit for his country. Other New York theater stars of the period Anne Jackson & E G Marshall play an American couple traveling with their two young sons, including Ronny Howard in his screen debut. Jackson's character is hugely pregnant and not anxious to give birth in a soon-to-be communist country; she gives an impassioned plea in the third act of this film which presages the naturalistic acting styles we've come to know today from Redgrave, Fonda, & Streep. Leading the pack of Soviet wolves is Yul Brynner, magnificent as a commandant and at his sexiest since he played opposite Kerr in \"The King and I\". He is mean and nasty and terribly conflicted by his attraction to the lovely, patrician, & heroic Kerr. This is one of the great transition films of the latter part of the Golden Era of American film. Do not miss it.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSet in Hungary in November 1956, this is the story of a group of foreign nationals who were trying to leave the country at the time of the Uprising.
Once the airport is closed, the titular journey begins on a bus taking them to Austria. As would be obvious, they are stopped on their way which is where they come up against the almost faultless Yul Brynner whose military power as a Red Army Major was marked with loneliness, his internal struggle between right and wrong, his search for the truth and his need to feel emotions for other human beings. He was saddened by the fact that his job had alienated him from his friends and enemies alike and he yearned for social contact.
Robert Morley plays the quintessential stiff upper-lipped Englishman who, no matter how serious the role, manages to maintain an almost light-hearted logical outlook on life while Jason Robards has a stunning movie debut which enforces the reason why he had so many roles throughout his career. Deborah Kerr, as the leading lady, exhibits the grace and femininity we have come to associate with her yet manages to bring over the strength and resolve required for her character.
The film deals with a very tempestuous time in European history but it never ceases to remind us that there is good in all of us and you can never completely judge a book by the cover. Fabulous scriptwriting ensures that for all the seriousness of the subject there can still be great one-liners and comedic instances that add to, rather than detract from the movie. The chemistry in the cat and mouse game between Kerr and Brynner makes you understand why they appeared in more than the one film together.
All in all, a thoroughly engrossing movie which I would definitely watch again. 8/10
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\n\"The Journey\" is a romantic version of the cold war. It's about an English woman (Deborah Kerr) trying to smuggle her former love, a Hungarian scientist (Jason Robards, Jr.), out of Hungary during the Hungary Revolt in 1956. She's on board a bus with thirteen other international people who are trying to get out of Hungary through the Austrian border.
Of course, the bus gets stopped by the Russians for a security check. The Russian officer-in-charge (Yul Brynner) becomes attracted to the English woman (Deborah Kerr)and delays the trip. Of course, the Russian officer knows the truth about the Hungarian scientist posing as a British citizen, but he decides not to arrest the scientist because he is waiting for the English woman to come to him. Of course, this all sounds absurd, but it is a fun movie to watch. Despite the romantic flow of dialogue between Mr. Brynner and Ms. Kerr, which seems inappropriate in the situation that they are in, the movie becomes suspenseful and interesting. The good acting overrides some of the silly dialogue. Perhaps, some people involved in the Hungarian Revolt would not appreciate this movie; they would consider it a piece of fluff.
This is my favorite Yul Brynner role. He speaks with his own, masculine voice and is very attractive, especially when he becomes vulnerable. This is Deborah Kerr's second time working with Yul Brynner since they made \"The King and I\" in 1956. They make a very attractive couple. Too bad they never worked again. This was the second sexy role Ms. Kerr took since \"From Here to Eternity\". Despite the fact that Ms. Kerr was wearing heavy winter clothes throughout the movie, she was very beautiful and sensual.
The fine supporting cast was headed by Jason Robards, Jr., in his first film role. Some of the international cast were recognizable, like for instance, Robert Morley from England. However, the rest of the actors, I have never seen before or since, were just great in the movie. In the background, it was fun to see Senta Berger, as one of the maids, speak a few lines of Hungarian. A few years later in 1966, she was in a movie, \"Cast a Giant Shadow\", with Yul Brynner as his leading lady. She is still working today.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSet during the Hungarian Revolution of 1956, this story has all the suspense of a good cold war book or movie as a multinational group of foreigners attempt to smuggle Jason Robards out of Hungary into Austria. However, three things complement the story, making this an extremely good movie.
First, the actors use the actual languages of their roles. The Russian soldiers speak only Russian; the Hungarians only Hungarian; the Germans only German, except to the minimal extent to tell the story. Since Debra Kerr is English, she speaks only English, and, of course, Yul Brynner and a few others essential to the story also speak heavily accented English. As a result, the empathy of the audience to the travelers becomes paramount. The viewer shares all the confusion and suspense of being involved in an illicit border crossing when he/she cannot understand any of the languages spoken around them. Very powerful feelings are aroused in the audience, and notwithstanding the heavy use of foreign languages, the audience is never at a loss for following the film. No subtitles are necessary.
Second. I was in Hungary in 1995, and I'm telling you, this movie has it right on. From the gypsy music overpowering the dinner meal to the underground caverns in the buildings where much of the action takes place to the village scenes, the realism is incredible. If I didn't eat in the actual restaurant in the movie, I ate at its double. I thought that I actually walked down the main street in that village. (Actually, the film was shot in Austria).
Third, and most important, this movie reunites Deberah Kerr and Yul Brynner (after The King and I) and the magnetism between them as the story unfolds is nothing short of Oscar qualified. Of course, Yul already received an Oscar for playing that relationship, so the Acadamy wasn't going to give him another one, but that is the quality of the film. Don't miss this one.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI have seen several Yul Brynner films--yet this is his best performance as the camera captures his emotions in close up as he snarls, smiles, and laughs. Brynner might have been equally arresting in Ten Commandments, Taras Bulba, The Magnificent Seven, The Brother Karamazov and the Mad Woman of Chaillot but none of these films have captured his range of talent in close ups as in this one. He is arresting and tantalizing to watch in every shot.
Equally fascinating and sexy, without removing her clothes, is Deborah Kerr. The script allows her to exude a sensuality that is not visual but suggestive--she reprised this sort of role years later in The Night of Iguana. The film does not suggest that she slept with anyone to help with the release of the group from the clutches of the Russians in fact she is shown as running away from the Russian Major (in contrast to the Maupassant story or the Isak Denisen story). Yet the film bursts with suggested but real physical allure of the Kerr character.
Kerr can never be classified as a beautiful actress in my view, but she is a superb actress. She puts her soul into dignifying the characters that she portrays, which often clashes with the spirit of the character. It is this contradiction that makes her roles in The journey, Quo Vadis, and The Night of Iguana memorable.
Why is this an unusual film? It is not easy in Hollywood to see Russian characters portrayed as good people--Dr Zhivago was an exception. Brynner's Romance of a Horse Thief was again great cinema by Abraham Polonsky but never acknowledged as such because of the intolerance towards Leftists in the post-McCarthy era.
The film is also unusual in its casting--great French actors Gerard Oury and Anouk Aimee--rub shoulders with Jason Robards Jr and British actor Robert Morley. In many ways the film is international than American. All four are great actors and add to the entertainment.
Those who have read Maupassant and Denisen's works will find the film is not true to either work. Yet the film can stand on its own as its sanitized (censored?) version has a dignified charm of its own--provided by the reality of the night that led to the release of the group. I think Litvak deserves to have the last laugh in providing an interesting and plausible twist to the tales that led to the making of the film, while entwining bits of both written tales (e.g. the last bus ride and the final kiss)
But I do have one grouse--why do Hollywood never acknowledge the sources that inspire the stories? Only recently (e.g., Insomnia) have the original works begun to be mentioned prominently in the credits.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nYul Brynner is Major Surov, a singing, dancing, vodka-drinking Russian Officer stationed near the Austrian -Hungarian border during the Hungarian uprising of 1956 in Anatole Litvak's The Journey. Though the film has yet to be released on video or DVD, it remains one of Brynner's most compelling performances. Because of the political unrest, a group of travelers cannot fly out of Budapest but are put on a bus to Vienna. Before they can reach the border, however, their passports are taken and they are detained for questioning by the Russians led by Major Surov.
The Major has reason to suspect that there is a Hungarian freedom fighter among the group being smuggled out of the country. Indeed Lady Ashmore is hiding a mysterious passenger, Paul Fleming (Jason Robards, Jr.) who pretends to be an American but fools no one. She is helping Fleming mainly to repay a debt she owed because of the trouble her past association caused him. Among the other passengers are a British journalist played by Robert Morley, an American family played by E.G. Marshall, his wife Anne Jackson and their two children, one of which is the screen debut of little Ron Howard.
Major Surov takes a romantic interest in Lady Diana Ashmore (Deborah Kerr), and a romance of sorts develops between them. She offers him nothing but disdain and a stiff upper lip, however, though we suspect that underneath her heart still beats. The Cold War intrigue and the powerful acting carry the story but the romance is never quite convincing. It remains, however, one of my favorite Yul Brynner films and deserves to be seen if only for his passionate performance.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI really enjoy this movie. The first time it was on Turner Classic Movies. All the actors did very well but Brynner steals the show again like always ( he is so sexy!).This is one of the movie that you do see Brynner's emotions. Actually this movie this is the first I ever seen him laugh because he plays very strong, larger-than-life and serious roles in other movies. In this movie you see both a masculine, tough and sensitive side of Brynner .Brynner seems to be a \"ladies'man\" in this movie.That is amazing how Brynner eats the glass cup and speaks in his Russian tongue it drives me crazy in love. I don't understand when both Brynner and Kerr ( they both have very good chemistry) stars in a movie together and then Brynner always die at the end it kind of reminds you \"The King and I\" in a way.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\na great movie, with a rather unclear political message. it´s shot in a theatrical style, i.c. most of the action takes place inside. mayor surov and diana ashcroft seem equally suspicious of each other. emotions run high since the western tourists and business-people seem unwilling and unable to yield to the eastern-russian charm of the mayor, although he makes every effort to understand their point of view. the two opposite world-views are made pointedly clear, but the movie also shows that human emotions cannot be controlled by politics. its powerfully acted and has a high emotional impact for a 50s movie.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAs a big Dostoyevsky fan, I had always been disappointed with Hollywood's halfhearted attempts to get into the Russian romantic aesthetic -- case in point, Yul Brynner as Dmitri Karamazov. I had thought the whole problem was a poor casting decisions, but then I saw Yul as Major Surov and changed my mind. When given an intelligent script to work with, he suddenly came alive and was as noble, sexy, and conflicted as you could ever want a Neurotic Russian Officer to be! So he was a better Dmitri as Major Surov than he was as Dmitri. But that's because writer Tabori actually gave Yul, as the Conflicted Russian Officer, the kind of Conflicted Russian Officer lines that are worthy of real literature, and that have real meaning and pathos in them. For example, a propos of folk music, he says musingly, \"You hear a man crying in the dark. And if you listen carefully enough, you know what he cries for. You look surprised, Lady Ashmore. Despite what you may have heard, tractors and Marxism aren't the only things the Russian cares for. There is always time for music.\"
Brilliant!!
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\n\"The Journey\" is a very good film. Produced in the spring of 1958, in Vienna, and released in 1959, this movie was quite popular in his early years. Despite the political problems, which influenced the movie's success (because the story happens during the Hungarian Revolution, the Cold War), \"The Journey\" is a very good film, but not well-known. I think it should be released immediately on DVD, because most of the people who have seen it so far want to have it at home. One of the most important qualities of the film is the extraordinary chemistry between Deborah Kerr and Yul Brynner, their intense relationship. All their scenes together are very important, but they also reveal the strong feelings, the great passion and love between the characters (Major Surov and Diana Ashmore). Another quality is the script, which is very well written. It was even published as a novel, by the screen player George Tabori. The film keeps its tension from the beginning to the end. At first, we didn't know if Diana and the other travelers could leave Hungary, because the Communist Major discovers that Diana's friend, Paul Kedes, is Hungarian and he isn't allowed to leave the country. The Major falls deeply in love with Diana and this is, in fact, the true reason why he doesn't want to let her go. But after he embraces her and gives her one of the most memorable kisses ever seen on screen, and she kisses him, too, he lets her go. And the end of the film is one of the most dramatic endings ever filmed-the Major and Diana say \"Goodbye!\", she arrives at the frontier with all the travelers, including Paul, while Surov is shot several times by some Hungarians, so he dies. Yul Brynner is very, very handsome and Deborah Kerr is very beautiful, charming, refined, just like an English Lady. Yul and Deborah are perfect together. They are one of the greatest couples of the Golden Hollywood. A true moviegoer should watch this film. \"The Journey\" has everything that a good film should have-a great, captivating story, interesting characters, a wonderful direction (Anatole Litvak is, in my opinion, at his best). Finally, I want to give a message to Warner Bros. Studios or those who restore and release classic films: Please, release \"The Journey\" on DVD as soon as possible.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nYul Brynner was a symbol of villein in the tine of 50,s , he play a role of Russian leader in Hungary at the time of revolution in this country in 1956 that made it against the Marxism.
The script of this film made it by good taste from the writer that mixing love and adventure with showing different characters in the journey from Hungary to England.
The best point in this film was the symbol of challenge from the Hungarian Resistance to kill the Russian major(Yul Brynner) in the hall time of the film that made a meaning about the disadvantages of this major from his bad works , but at the end he made a good work to help Deborah Kerr for escaping her and her darling to London to write in his book a good working to gain at the end people,s agreement and trustment after his assassination by the Hungarian Resistance.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThere have been many excellent comments about this movie and I want to add my voice to the praise. Yul Brynner has never been more powerfully attractive. His Major Surov was riveting. Your eyes just cannot leave the screen when he's on it. This is his movie. This is not to slight the rest of the cast which was also exemplary, especially Deborah Kerr and Anne Jackson. As they were mostly stage actors, they brought many nuances to their performances. For example, I have seen this movie at least 4 times, but this is the first time I noticed the reaction of the German girl when she came face-to-face with a Russian soldier. Even though he was not threatening, her absolutely hysterical reaction made me realize that she must have been in Germany after WWII and was most likely gang-raped by the Red Army. The possibility of discovering deeper layers of story that may lie just beneath the surface makes me want to see this fascinating film again and again. Please put it on DVD.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAnatole Litvak directed the 1959 film, \"The Journey,\" starring Yul Brynner, Deborah Kerr, Robert Morley, E.G. Marshall, Anne Jackson, and Jason Robards.
The film takes place during the 1956 Hungarian uprising and concerns a group of travelers having problems getting out of Budapest because of political problems in that part of the world. They are put on a bus to Vienna, but the Russians, led by Major Surov (Brynner) confiscate their passports and hold them for questioning. One of the passengers is Paul Fleming (Robards), posing as an American but in reality a Hungarian freedom fighter, whom the major believes is being smuggled out of Hungary. In fact, Lady Ashmore (Kerr) is hiding him. She becomes the focus of the Major's romantic attentions.
Very good film that conveys the tension and hassle of the Cold War, and all of the performances are wonderful. Brynner is particularly excellent as the passionate Major who isn't all bad, and Anne Jackson gives a realistic, powerful performance as a pregnant woman who doesn't want her child born in a Communist country.
Good script, good director, good cast - there should be more films like this. Highly recommended.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThe \"silver screen\" gets freshly polished with this beautiful film about aging happily and enjoying life's rainbows. There's plenty of silver hair on this silver screen, but the film's namesake is more like 85-going on-25 with his energy, humor and lust for life. The story of entertainer extraordinaire Uncle Frank, his devoted wife Aunt Tillie, and the zippy residents of the local area nursing homes inspires us to \"live each day as if it's your last\" and brings a glimmer of hope to those often-dreaded golden years. A great movie for young and old audiences!
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nIt doesn't matter whether you've experienced the plight of the elderly in America or if you're just plain clueless, Uncle Frank and Matthew Ginsburg give you that clue in a straight forward, funny, wake up and smell the roses sort of way. By the end of the film, it is obvious that while being totally entertained, somehow, you've also been educated. A terrific film, by a terrific up and coming talent in the movie field. Matthew Ginsburg is a name to pay attention to.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis film works on a lot of different levels. It's a profile of one very cool couple, a social commentary on aging and nursing homes, a love story, a musical. I've seen Uncle Frank a few times, and every time I watch it I'm not sure who to go call first--my parents, my wife, a friend I've lost touch with . . But it has a way of making you remember the most important relationships in your life--and want to reaffirm the ones that continue. Expect a lot of laughs, and probably some tears if any of the vibrant characters here strike a chord. I'm pretty sure they will.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nUncle Frank is everyone's uncle. This documentary covered all aspects of aging in America, the lonliness, the humor, the irony. Uncle Frank and Aunt Tillie were supremely generous in sharing their life experiences with the audience. The director did an unbelieveable job of capturing the small and large pieces that made up their lives. Thanks to everyone who helped in making this film!
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI watched this movie three times at different ages of my life and always did enjoy it very much indeed. This Can-Can is an authentic explosion of joie de vivre, like Stanley Donen and Gene Kelly musical, but in French way. And a Jean Renoir nice tribute to his time, his friends, lovers, music and dances. It is at same time a show business chronicle of that age, full of affection and French mood. It is too a clear tribute to the Impressionism (people who likes impressionistic painters will like this picture). It is particularly a tribute to Toulouse-Lautrec and, of course, to Jean Renoir father, Pierre-Auguste. You will find hear a trustworthy and splendid colored recreation of some Renoir master work. Excellent casting, scenery, sound-effects and music. Even it tell us about the creation of Parisian Moulin Rouge, obviously it is a fiction story (and not very original by the way, as it fall down in the very well know moral that the show must go on). But the Jean Renoir production is great.

\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis is my favorite Renoir from the Fifties. It's the story of how Henri Danglard built and launched the Moulin Rouge nightclub; we see the workmen blasting at the site to get construction underway, and the training of the dancers. Finally, the giddiness of opening night and the long sequence of cancan dancing. Financial problems and the ego displays of the performers are described.
Gabin is in great form as the easy-going Danglard--see him deal humorously with Nini's violent boyfriend. Gianni Esposito is moving as the wistful Prince who is courting Nini. Maria Felix, with that amazon's body, is imposing as the egotistical Lola, Danglard's first lover. Finally Françoise Arnoul as Nini the washing girl who ends up dancing for Danglard, and becoming his girl, is just stunning; her loveliness and pert charm will win you over.
A bonus: we get Edith Piaf, Patachou, André Claveau and other stars in cameos playing the stars of a century ago who ruled over the Moulin rouge.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\n\"French Cancan\" is one of my favorite all time movies. It's an excellent film. There's color, there's humor, there's music. It's a very good portrait of the so called Belle Époque, though Jean Renoir's priorities were always to show a creation, a fantasie. So the film isn't a historical movie. The final sequences in which the girls dance cancan are unforgettable images. It's a film you shouldn't miss.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAlthough it doesn't seem very promising for a long stretch, Renoir's French Cancan ends up being an effortlessly charming film. The story is cliché: a laundry girl, Nini (Françoise Arnoul), is discovered by a night club owner, Danglard (Jean Gabin). Danglard steals her from her baker boyfriend and drops his current girlfriend, both of whom come back for their former lovers. Nini has to choose whether to go back to her humble life with the baker, go on with the show with her employer, oh, or become a princess, as a prince falls in love with her at one point, too. I'm glad the film didn't go for the most obvious choice, as a lesser film certainly would have. The film ends with the opening of Danglard's new night club, the Moulin Rouge, and a couple of gorgeous song and dance numbers. The first of them, \"Complainte de la Butte,\" which also provides the base of most of the film's musical score, is simply one of the most gorgeous songs ever written, and Renoir himself wrote it. If you're a fan of Baz Luhrmann's 2001 film Moulin Rouge!, you'll recognize the tune, as it comes up near the beginning of that film, sung by Rufus Wainwright. Although it isn't very prominent in that film, everyone I know who owns the soundtrack loves it. In addition to having one of the most lovely songs ever written, French Cancan also boasts one of the cutest leading ladies ever to grace the screen. It's hard not to fall head-over-heels in love with that girl. 8/10.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nRenoir's tale of Paris,the Cancan,a washer-girl and the Moulin Rouge.A more subdued,but highly entertaining version of the opening of the Moulin Rouge. Jean Gabin gives his usual excellent performance.The Technicolor photography on the print I saw was exquisite.An easy evening's viewing. chris w galla
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThere are frames in this film that could be Renoir paintings with vivid colors against muted backgrounds. The humorous combination of sexual honesty and innocence is refreshing in this fifties film and makes palatable the old story line of the ingenue that becomes a star. The can-can number at the end seems realistic and exciting but not over the top as in an American dance sequence.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI just viewed Jean Renoir's wonderful film, French Can Can. It is a visual delight and a great entertainment. The recently produced Moulin Rouge pales by comparison. I didn't quite get all of the praise that the recent movie received. Now I'm convinced more than ever, that my appraisal was correct after seeing a master film maker like Jean Renoir's version of the same story. He succeeded in getting great performances out of his entire cast, and the great French actor, Jean Gabin was in rare form. The dance sequence near the end was one of the most exciting one I'd ever seen. It was long, but I didn't want it to end. This film deserves to receive more recognition than it's got.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis was a pleasant musical about the creation of the Moulin Rouge dance hall. In many ways, this reminds me of the Hollywood musicals of the 40s and 50s, in that it has many clichés leading up to the inevitable conclusion (\"will the show STILL go on?\"). While of course none of this is new, it was enjoyable and well made. The musical numbers at the end are frenetic and beautiful to watch. In many ways it reminds me of a sexier version of THE GREAT ZIEGFELD. In real life, Ziegfeld was quite the player but this was sanitized in the American film. But, in FRENCH CANCAN, the characters have fully functioning libidos--but nothing is really shown, so the movie is okay for kids.
Nothing new but well done nevertheless.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nLike classic Hollywood musicals, the plot is just an excuse. A must see for those interested in French music hall (including a song by Édith Piaf) and for the wonderful 10 plus minute cancan finale. The dancing in the film is not at all like what usually passes for cancan.
Some might object to the Technicolor costumes and the bright lighting, but it gives you a clear view of some grand costumes and sets.
Consider it Jean Renoir's love letter to the Paris he grew up in. Certainly the Jean Renoir film for people who don't like his serious films or who only like his Hollywood productions.

\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAs a longtime admirer of the 2001 film \"Moulin Rouge\" and a more recent admirer of Jean Renoir's film-making, I knew that I'd inevitably watch his \"French Cancan\" sooner or later. The movie tells a fictionalized story of the opening of the Moulin Rouge nightclub. The impresario Danglard (Jean Gabin) tries to turn Montmartre laundress Nini (Françoise Arnoul) into a cancan star, without arousing the wrath of his tempestuous mistress, the belly-dancing Lola (Maria Felix). This is just one of several love triangles in \"French Cancan\"--true to stereotype, these French showbiz folk are always falling in love.
Renoir directs with his typical gentle humor and attention to supporting characters, and also wrote the lyrics to a beautiful waltz song prominently featured in the movie. Gabin perfectly incarnates the aging French playboy hero. Arnoul is a cute redhead who holds her own in the dance numbers, except for a few trick shots where a double is obviously used.
\"French Cancan\" is billed as a musical comedy and while there are lots of musical numbers that take place on the nightclub stage, etc., only one character, Casimir, ever breaks into song in the middle of conversation. The actor who plays him, Philippe Clay, is fun to watch--a really tall, skinny young man who sings, dances, and does contortions.
The movie ends with a long cancan sequence, as all the characters learn to triumph over their problems and make art together. The dancing is much more brightly lit and coherently edited than in \"Moulin Rouge\"; in fact, if I have one complaint about \"French Cancan,\" it's that the whole thing is a little too Technicolor. Even when Nini experiences heartbreak or someone sings a melancholy song, the lighting is bright and flat, no shadows intruding. Yes, the result is a cheerful and warmhearted musical comedy; it's just that I can't help thinking that things weren't ever this colorful and innocent in real life.
\n
assistant\n1
\n"