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user\nIn the film Kongwon-do ui him it features a relatively intimate look into the meaningfulness (as well as general meaninglessness) into the lives of various Koreans; empty people seeking ways to fill themselves, enjoying the escapism of nature. From the beginning to the end of the film we observe the fallibility of the various characters; we learn of their shortcomings and their desires, the overall complexity captured within human life (and yet the overal simplicity of humanity). Although the film is slow-moving, it can be very contemplative. It does not force any ideas, but allows the ideas to come about themselves, it allows the concepts to reveal themselves.
The film ends as well and as suddenly as it begins, and one truly understands the meaning of aloneness, that love is often an act of selfishness, and the many mistakes that we make. It is a look into everyday life, very well and beautifully done.
If you are looking for action or for intense drama, this is not the film for you. However, if you enjoy honest, original, and meaningful films that are not forced and without glitz, this is a great film to watch.
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user\nThis is a great film. If this is any indication, than Hong Sang-Soo really is \"Asian cinema's best kept secret\". It's very similar in style to Tsai Ming-Liang and Hou Hsiao-hsien, and covers a lot of the same ground as them thematically, but I think I actually enjoy this more as a whole than any single one of their films. The overt minimalism is slightly less pronounced here than in their work, although it still completely fits that style (the camera never moves even once), and somehow I found the film less self-consciously \"slow\" than Tsai Ming-Liang or Hou Hsiao-hsien, which I think is part of the reason I enjoyed it more. Plus, it doesn't keep it's subjects quite as detached as Hou does. I felt like the film was also somehow more \"complete\" and less open-ended (just barely) than some of their work, although that's not to say it had much of anything resembling a forward-moving plot. I would have a hard time believing that Sophia Coppola wasn't directly influenced by this film for \"Lost in Translation\" (scenes of a young woman wandering around by herself, and languishing in her hotel room wearing punk panties can't help but seem familiar).
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user\nThe Power of Kangwon Province is director Hong Sang-Soo's second feature effort and clearly much of what he started with in his previous film returns in this film, including the multiple connected narratives (in this case, two), and stories of troubled or troubling relationships, as well as a potent dosage of irony.
One thing that's clearly reduced from his previous work is the flights of fancy that included elements of surrealism. However, this film also contains a single moment of surreal that strikes a contrast against the otherwise rather realistic depiction found therein. The two stories follow a young woman who goes on a trip to Kangwon Province with her friends, only to find herself drawn to a stranger, the second about a man who also goes on a trip to Kangwon Province with his friend and struggles with his relationship woes.
Again, Hong shows a strong understanding of irony and of the flaws in human nature and yet I don't think he's entirely unsympathetic when it comes to his characters, drawing in just enough compassion to offset the criticism he draws with his irony. I think the think I've come to love about Hong's films is that they just feel so real, especially the complex and conflicted characters. Not to say that every person is a hypocrite or suffering from confused feelings, but rather, that these characters he and the actors present, feel fully developed and believable.
This is not a fast moving film. There's a lot of lingering and like the previous film, things don't always connect immediately so patience does pay off and in surprising ways. There doesn't appear to be any element of the film that isn't intentionally placed in the film and it's made my a little hyper-aware of various seemingly extra characters as they get dragged into the mix as the film progresses.
Power is an excellent film that manages to inject a level of personal emotion, regret, longing into a story that highlights irony and the fallibility of human decision-making. It's a rather hard balance to keep and it's surprising how Hong manages to pull it off twice in a row. Technical production values have gotten much better since the first film and direction has gotten steady and clear. This film doesn't pack the same emotional wallop that the first does, but gains a lot in its assured exploration and the refinement really helps tighten the overall vision. Great viewing for art cinema lovers. 8/10.
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user\nLet us begin by saying that this film's English title \"The Power of Kangwon Province\" is an absolute misnomer.It is because in Hong Sang Soo's film,there are no actual shots of wars,troubles and conflicts.So the idea of establishing power of a province is neither suitable nor valid in the context of this film.If we were to judge this film by its Korean language title,\"Kangwon-do ui him\" is going to appear as a cryptic statement about emotional turmoils of its young protagonists whose minds are not at rest.Hong Sang Soo has also directed a highly prolific visual document about erratic choices made by people in their lives.The people in question are a couple of young girls who are constantly in the process of displaying their moods,whims and fancies. If making a film out of nothingness can be claimed as a film maker's meritorious virtue then Hong Sang Soo has to be saluted as a courageous film maker whose films speak volumes about ubiquitous nothingness of human relationships,sentiments and lives.Whether one likes it or not,this is the only fair conclusion that be deduced from this particular film.
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user\nAt last - I've finally got round to it and managed to see a \"clean\" copy of Pakeezah! Up until now I've only had a mangled scratchy jerky version taped off Dubai TV sometime in the '90's, with quirky English subtitles, dizzying widescreen coverage and a fluid colour with a mind of its own. Having thought the world of such a poor (and short) copy I find the decent one was well worth the wait and the full 140 minutes even more of a pleasure than I thought possible.
This was the lovely Meena Kumari's film from start to finish, and I believe was planned by her from 1958 on, finally realising it in 1971. What a shame it was that chronic alcoholism finally killed her soon afterwards, and in fact that she was too ill to perform in some of the scenes in Pakeezah, necessitating a body double. In some scenes the strain definitely shows in her face.
The story of Purity versus Adversity I can only treat as fiction having no experience of anything remotely close to it, but I'm led to understand that it faithfully depicts a world now gone that must have been common at one time in India. It's a sparkling and colourful film with a simple relentless epic message, an intense romantic tragedy which is somehow simultaneously feelgood too. But to me it's the peerless golden music by Ghulam Mohammed as sung by the incomparable Lata Mangeshkar - especially Thare Rahiyo - and its part in the unfolding of the story that makes this film so outstanding. I've seldom heard such serious, beautiful, poetic, wondrously sung and played songs on any movie soundtrack. Singin' In The Rain may be my favourite musical film but Pakeezah has my favourite music - yet Lata said that the songs themselves meant nothing special to her. The only pity is that the also unique Mohammed Rafi only had the one song in here, albeit a classic duet with Lata.
Because of all this but not blind to its faults, Pakeezah is my favourite Indian movie, filmed at a time when the Westernisation of India was gathering pace and watched now when Western values seem to be state sponsored and de rigueur. At the very least watch Pakeezah for a taste of what Indian \"pop\" music had to offer the world before it was all jettisoned for drum machines, the Bollywood Beat and bhangra.
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user\nWithout question, this film has to be one of the greatest ........ in cinematic history. I have it watched too many times to remember, and each time it is like I am seeing the film for the first time.
Where does one begin?
Meena Kumari's central performance is undoubtedly one of the finest of her career, followed closely by Sahib Bibi aur Ghulam and Phool aur Pathar. Each movement and nuance of her performance, makes any other Bollywood heroine pale into significance. Her masterly interpretation of Kathak coupled with her grace, tragic vulnerability and poetic delivery of Urdhu, is like nothing ever seen on the bollywood screen.
Pakeezah is perhaps the most stylised interpretation of the human condition; the photography, sumptuous cinematography and mise en scene, are so charged with symbolism and meaning, that the viewer is left breathless.
Naushads music, is unsurpassed, his knowledge of the music of the courtesan gharanas is incredible, and the way in which he punctuates the narrative with dark atmospheric motifs and overwhelming romantic melodies is indeed remarkable.
My only advice to anyone who seriously enjoys the spectacle of total cinema, should watch this epic mediation on life and art.
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user\nThis movie is one among the very few Indian movies, that would never fade away with the passage of time, nor would its spell binding appeal ever diminish, even as the Indian cinema transforms into the abyss of artificially styled pop culture while drill oriented extras take to enhancing the P.T. styled film songs.
The cinematography speaks of the excellent skills of Josef Werching that accentuate the monumental and cinema scope effect of the film in its entirety.
Gone are the days of great cinema, when every scene had to be clipped many times and retakes taken before finalizing it, while meticulous attention was paid in crafting and editing the scenes. Some of its poignant scenes are filled with sublime emotional intensity, like the instance, when Meena Kumari refuses to say \"YES\" as an approval for Nikah (Marriage Bond) and climbs down the hill while running berserk in traumatized frenzy. At the moment, Raj Kumar follows her, and a strong gale of wind blew away the veil of Kumari and onto the legs of Kumar........
Kamal Amrohi shall always be remembered with golden words in the annals of Indian Cinema's history for endeavoring to complete this movie in a record setting 12 years. He had to manage filming of some of the vital songs without Meena's close ups, because Meena Kumari, the lady in the lead role was terminally ill and fighting for her life in early 1971.
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user\nPakeezah is in my mind the greatest achievement of Indian cinema. The film is visually overwhelming but also emotionally breathtaking. The music, the songs, the sets, the costumes, the cinematography, in fact every creative element is worthy of superlatives.
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user\nPerhaps the most polished and accomplished of all Indian films - Pakeezah does not fall into any of the traps commonly associated with Bollywood film (ie tackiness, farce, wholesale and unsuccessful imitation of western film themes/genres). Pakeezah is indigenous to the Sub-Continent and authentic, almost Madam Butterfly-like in plot. Characters are well-developed, direction, although sometimes unrefined by today's standards, perceptive and convincing. The Urdu-speaking milieux at the time of Pakeezah were masters of understatement and how the dialogue conveys the subtleties of the age! The acting (particularly the 'looks' and the dynamic between characters) are a delight to behold although the nuances may be lost on contemporary viewers or those not acquainted with the mores and customs of Muslim India.
Coupled, with a captivating screenplay is a beautiful musical score, enhanced by the protagonist displaying eminent command of classical Indian dance (kathak). As is the case with most romantic tragedies, the heroine must die, but she does not take her leave of the audience without the viewer feeling he/she has been party to a truly memorable cinema experience. Pakeezah is surely the pinnacle of what Indian cinema has produced and is unlikely to be paralleled.
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user\nBesides the fact that it was one of the few movies that I ever shed a tear over (bye-bye manhood), this is one of the most beautifully crafted Indian films that has ever been made. From the finely crafted sets, to those haunting looks Meena Kumari gives, no one can ever forget it. The music of Pakeezah is amazing, all the more if you can understand the sublime poetry, and is definitely one of those \"OMG, 5 minutes another song\" movies. You get the feeling of how trapped Sahibjaan is in among all the amazing jewelery she wears and fountained court yard she casually walks past.
A parody of all the dreams you've ever had..........
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user\nPakeezah has a very interesting history (which is well documented in the 'Trivia' section) about how it came to be. It seems as if destiny conspired to test Kamal Amrohi (the director) while at the same time secretly desiring to see him complete his masterpiece.
Pakeezah rides on metaphors, poetry and visual elocution. As a result the intensity with which emotions come out achieve a dimension which may not be very real but are very effective and leave an impact on the viewer.
Meena Kumari lives the tragedy of Nargis and Sahib Jaan like her own. The other stars of the film, besides her, are Ghulam Mohammed (the music director), Lata Mangeshkar, Naushad (background score) and Joseph Wirsching (the d.o.p). Their music and cinematography leaves you spell bound.
Pakeezah is a classic in world cinema. It reveals new layers to you every time you watch it again. Kamal Amrohi is one of the rare poets of cinema and he left us all a gift.
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user\nA great film requiring an acquired taste. If you're into action, wham bam films and hate serious love stories then its not for you. Otherwise, if you like to sit in front of a good intelligent movie now and again I recommend this very highly. Easily the best film produced in Bollywood this century.
The only other Indian film I would give 10/10 for is Dil Wale Dulhaniya Le Jayenge. Even then it comes second to this masterpiece.
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user\nThis is definitely one of the best movies I've ever seen-- it has everything-- a genuinely touching screenplay, fine actors that make subtlety a beautiful art to watch, an actually elegant romance (it's a shame that that kind of romance just doesn't seem to exist anymore), lovely songs and lyrics (especially the final song), an artistic score, and costumes and sets that make you want to live in them. The ending was only a disappointment in that I was expecting a spectacular film to have a brilliant end-- but it was still more wonderful then the vast majority of movies out there. Definitely check this movie out-- over and over again. There are many details you miss the first time that deserve a second look.
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user\nThe ultimate homage to a great film actress.The film is a masterpiece of poetry on the screen.Like great poetry it is timeless.Direction,cast,screenplay,music,lyrics,in fact all the norms for movie-making are perfectly chosen to suit the message of the film.The Muslim society in India has never been presented with such respect,nobility and reality.The script is memorable in the hands of Meena,Ashok,Raaj Kumar,Nadira etc to name a few.Personally i was most impressed by the regal looking Kamal Kapoor.The master movie maker Kamal Amrohi's lasting legacy to the sub-continent.A very beautiful film on a controversial theme that makes humanity look up and face the reality of the outcasts in the world.'In ka naam? Pakeeza! haan Pakeza'.Such acting is unheard of in this age of sex,dance and pornography.
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user\nMina Kumari exhibits more style and grace just moving from standing, to sitting on the floor than you can find in most other movies. The director has produced more memorable scenes of touching beauty than it would seem possible. The music and dancing is of the highest possible quality. You may notice in the first dance scene the director has all sorts of things occurring in the background:other girl dancing, a drunk falling down stairs, much activity, but he knew that we would be watching Mina dance and I'll bet unless you viewed this many times, you didn't notice.All in all, perfection.J.Q.
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user\nSuch a film of beauty that it's hard to describe. Maybe it's the absence of superfluous dialogue, or maybe it's the absolutely stellar soundtrack, or maybe it's just Meena Mumari's feet, but it's a joy to watch this movie again and again. I've never seen another Indian movie that comes close to it, and few from any country rival its perfection.
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user\nThis film opened to poor showings in the first few weeks. Then Meena Kumari died and it just brought the crowds rolling in. Songs on All India Radio, especially Inhi LogoN ne were played so often that I was sick of them at the time, despite recognising their beauty!
Yes, it did take all those years to make. This was because the marriage was a very unhappy one and Kamal Amrohi also had difficulty finding the money to make the film; looking at the sumptous sets and costumes, not surprising!! Not only does Meena Kumari age and fall ill but listen carefully to Lata's voice. Inhi logoN ne has her 50's younger voice while songs that were re-recorded like Chalo dildar chalo show clear development. I only wish someone would find the Ghulam Mohammad songs that weren't included in the film, because of changing fashions that called for fewer though slightly songs and publish them. Lata in a recent interview (2007) rated Ghulam Mohammad as one of the best composers she had ever worked with, apart from Madan Mohan (a great personal friend). Notice also that you hardly see the actors at all in the Chalo dildar songs, very unusual. There is only a brief shot of Raj Kumar from the middle distance and you only see the back of the supposed Meena Kumari. Kamal Amrohi made a virtue out of necessity and focused on the stars and moon. Any other film, this song would have had close-ups of both of them.
As for this being the finest film ever, I would beg to differ. It means you have missed a lot of Indian cinema, in no particular order, films like Barsaat (old), Devdas (older versions), Bandini, Do Bigha Zameen, Garam Hava, Dastak, Guddi, Aan, Pyasa, Kagaz ke Phool, Sahib Bibi aur Ghulam, Kabuliwallah, Abhimaan, Guide, Sujatha, Bombay ka Babu, Daag, Parineeta (old), Umrao Jaan, etc. etc. And if you valued music more than story the list would simply grow with beautiful scores from Barsat Ki Raat to Naya Daur, Teesri Manzil, Mahal, Aag, Jugnu, Anand, Mera Naam Joker: the list is really endless!
So enjoy Pakeezah but don't miss out on any of the above...
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user\nIf ever I was asked to remember a song from a film of yester years, then it would have to be \"Chalo Di Daar Chalo Chand Ke Paar Chalo\" for its meaning, the way it is sung by Lata Mangeshkar and Mohd. Rafi, the lyrics by Kaif Bhopali and not to mention the cinema photography when the sailing boat goes out against the black background and the shining stars. The other would have to be \"Chalte Chalte.\" Pakeezah was Meena Kumari's last film before she died and the amount of it time it took can be seen on the screen. In each of the the songs that are picturised, she looks young but after that she does not. But one actor who didn't change in his looks was the late Raj Kumar, who falls in love with her and especially her feet, after he accidentally goes into her train cabin and upon seeing them, he leaves a note describing how beautiful they are.
Conclusion: Pakeezah is a beautiful romantic story that, if at all possible should be viewed on large screen just for the sake of the cinema photography and songs. The movie stars the Meena kumari, Raj Kumar and Ashok Kumar and is directed by Kamal Amrohi.
Kamal Amrohi's grandson has now started to revive his grand father's studio by making a comedy movie.
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user\nPaperhouse is the most moving and poignant film I've ever seen. Often classed as a \"horror movie\" this, I believe, is a grave error. Some journo once called it \"the thinking person's Nightmare on Elm Street\" and while I accept the logic of his conclusion I can't help but think it's a tag that is ill deserved and misleading. Those that can only see horror are truly missing out here and only serves to demonstrate they're really not thinking at all.
In fact, just attempting to classify this wonderful work is probably a bad idea. Quite simply, Paperhouse is perfect in every exquisite detail and will always have a special place in my heart. As someone wiser than me once said, \"the film hits you on a completely emotional level\", which may go some way to explaining why my comments are so unrelentingly gushing. To be honest, I make no apology for this so if you feel my words are too saccharine for your taste, stop reading now because there's more to come.
It's so rare to find a film that has at its heart the pain and heartache of childhood and the struggle to overcome the dreadful feelings of isolation and loneliness that can completely overwhelm us at this fragile time in our lives. Even more unusual to find child actors who can actually play their roles with the sensitivity and intelligence required to make it all work. In Charlotte Burke and Elliott Spiers we had an inspired piece of casting and the lasting impact of Paperhouse owes much to their ability to portray the melancholy and alienation of childhood (often overlooked) in a seamless and convincing way.
And yet both of these brilliant young stars seemed to have slipped through the grasp of the studios and have somehow faded away.
Add to all this an incredibly talented director (Bernard Rose), imaginative cinematography and the most beautiful and haunting soundtrack you're ever likely to hear and you may start to get an inkling of why I have such affection and affinity for this film that no amount of words can express.

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user\nA great film this, and a shame that it will receive little attention outside of arthouse circles and students who stay up until two in the morning to watch it on Channel Four.
The plot is a simple one but works very effectively, the blurring between child-like fantasy and hard-hitting nightmare is very well blurred. The budget looks pretty low, but to the credit of those involved it doesn't show too often. It also hasn't dated that much either.
I was lucky enough to tape this off the telly when it was on a few years ago, and it has withstood half-a-dozen viewings. It's one of those films that won't appeal to all; though as usual, those with a more thoughtful approach to cinema would get a lot out of this.
Charlotte Buerke puts in a good performance as Anna, the spoilt brat and it is a shame she seems to have gone from the acting scene. Cross is also very good, carrying the stature of his character very well within the context of the picture.
There are some genuinely (and I don't say that lightly) disturbing moments in this film, both half-second shockers and more drawn-out tensions. Watch it with the lights out!
Highly recommended.
9/10

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user\nAnna (Charlotte Burke), who is just on the verge of puberty, begins to have strange dreams which start affecting her in real life--especially involving a boy named Mark (Elliott Spiers) who she meets in her dreams.
Very unusual fantasy with some truly terrifying moments. Despite the fact that this is about a teenage girl and has a PG-13 rating, this is NOT for children. Also, if you hate fantasies stay far away. But if you're game for something different this fits the bill.
Well directed by Bernard Rose with a just beautiful music score and a few nice, scary jolts. The only thing that prevents this from being a really great movie is Burke--she's not a very good actress (it's no surprise that this has been her only film) and it hurts the movie. However, everybody else is just great.
Spiers is very good as Mark; Glenne Headley (faking a British accent very well) is also very good as Anna's mother and Ben Cross is both frightening and sympathetic as Anna's father.
A sleeper hit when released in 1988, it's since faded away. That's too bad--it's really very good.
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user\nI do miss the company Vestron, they sure had their finger on the pulse of unique and unusual cinema back in the 1980s. This is very apparent with the astonishing Paperhouse, a film that touches me deeply each and every time I watch it.
The idea of a girl manipulating a dream world with her drawings (thusly the dream world manipulating reality), and also connecting with and affecting the life of a boy she's never actually met, is fascinating and never disappoints. Charlotte Burke at first seems quite precocious and yet you warm up to her because by being a bit of a mischievous child, it makes it hard for the adults to believe what she is experiencing. She becomes very self aware and strong towards the end, even finding she doesn't \"hate boys\" as she so defiantly claimed at first. Through this we are treated to many touching moments and some immensely scary ones, all visually stunning with a grand score from Hans Zimmer. I'm quite proud to be an owner of the soundtrack on CD when it was released in the United States on RCA Victor. At the time of this writing there is no DVD of Paperhouse yet available in the U.S. (only in Europe), here's hoping one of my wishes will come true as I truly cherish this beautiful film and a DVD of it would be very welcome!
It's satisfying watching the girl work out her thoughts like a puzzle game trying to make the dream world work for her and her newfound friend Marc (Elliot Spiers). Both Charlotte Burke and Elliot Spiers do a magnificent job throughout, I find the editorial comment on Amazon.com about it being \"hammy acting\" quite perplexing -- I found every aspect of Paperhouse to be exhilarating. Even in minor scenes of brilliance like when Charlotte and the girl in the classroom are staring at each other through the glass on a door, it's quite powerful.
You don't have to be an arthouse type to enjoy Paperhouse, just be a person that enjoys a film that stimulates and has you wanting more. There is enough in this film to invite repeated viewings and I'm still in awe of the cinematography and sets. For me, it's never like watching the same film twice, as there are so many details to absorb and savor. A very emotional experience indeed.
While there are many films I adore, there are only a few specific ones that strike a great emotional chord in me: films like Paperhouse, Static, Resurrection, and Donnie Darko. When I see so much drek out there passing as films that will easily be forgotten and in bargain bins, all I have to do is watch Paperhouse and my faith in wondrous storytelling is renewed.
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user\nThis is a way cool fantasy movie. One of my faves, it really is so cool. The director is Bernard Rose who went on to direct Candyman, he made a great start with this film.
The film about a girl called Anna who falls ill with glandular fever on her 11th birthday. She draws a house on a shred of paper from her exercise book and falls into a dream in which the house is real. Each subsequent dream that she has is altered by the presence of whatever she adds to the picture. In her third dream she meets a boy she thinks she has created called Mark. She befriends him and their relationship becomes stronger as the dreams become darker and scarier.
Charlotte Burke who plays Anna is a terrific actress and it is very strange that, after just one film, she should disappear and never be in anything ever again. She really does give a great performance in this film.
Hans Zimmer's score is also ace. Much like Broken Arrow, the music is ghostly and mysterious. It's a real shame that the soundtrack is not available on CD anymore. The DVD is available in R2 only.
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user\nPut quite simply, this film is terrifying.
It starts off simply, looking like a study of a rebellious young girl and goes on to become a beautifully crafted horror film.
Don't expect gore, or zombies. This is psychological, and just as he would also do in Candyman, Bernard Rose manages to convey the horror that is not being believed.
Each time you watch this film, you realise more about what's happening, and about how the two worlds in this film interconnect.
Drawings have never been scarier.
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user\nAnna (Charlotte Burke) develops a strange fever that causes her to pass out and drift off into a world of her own creation. A bleak world she drew with a sad little boy as the inhabitant of an old dumpy house in the middle of a lonely field. Lacking in detail, much like any child drawing the house and it's inhabitant Marc (who can't walk because Anna didn't draw him any legs) are inhabitants of this purgatory/limbo world. Anna begins visiting the boy and the house more frequently trying to figure what's what and in the process tries to help save the boy, but her fever is making it harder for her to wake up each time and may not only kill her, but trap her and Marc there forever.
Wow! Is a good word to sum up Bernard Rose's brilliantly haunting and poetic Paperhouse. A film that is so simple that it's damn near impossible to explain and impossible to forget. While you may find this puppy in your horror section it's anything but. It's more of a serious fantasy, expertly directed, and exceptionally well acted by it's cast, in particular Charlotte Burke and Elliot Speirs (Marc). And yet, it's not a children's movie either, but meant to make us remember those carefree days of old that are now just dark memories. Rose creates a rich tapestry of moody ambiance that creates a thrilling backdrop for the brilliant story and great actors to play with. Paperhouse stays away from trying to explain it's more dreamy qualities and leaves most things to the viewers imagination. There's much symbolism and ambiguity here to sink your teeth into. Paperhouse enjoys playing games with the viewers mind, engrossing you with it's very own sense of reasoning. As the story unfolded I was again and again impressed at just how powerful the film managed to be up to the finale which left me with a smile on my face and a tear in my eye.
Bernard Rose's visuals are brilliant here. He's able to create an unnervingly bleak atmosphere that appears simple on the surface, but as a whole is much greater than the sum of it's parts. The acting is of young Charlotte Burke in this, her feature debut, is a truly impressing as well. Unfortunately she's not graced the screen since. A much deserved Burnout Central award only seems proper for that performance. Toward the end the movie lags a bit here and there, but I was easily able to overlook it. I wished they had took a darker turn creating a far more powerful finale that would have proved to be all the more unnerving and truly riveting in retrospect. The movie as is, is still one for the books and deserves to be seen by any serious film lover. It's a poetic ride told through the innocent eyes of a child, a powerful film in which much is left to be pondered and far more to be praised.
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user\nMy name is John Mourby and this is my story about Paperhouse: In May 2003 I saw Alfred Hitchcock's psycho, I was very scared and deeply disturbed. I began a frantic search for a film that was frightening in the same way. But none where satisfactory. Amongst those tried and failed were The Birds, Night of the Living Dead, The Silence of the Lambs, The Blair Witch Project, Ring, The Evil Dead, The Sixth Sense, 28 Days Later, The Texas Chainsaw Massacre, Halloween, Near Dark, Alien, Peeping Tom, The Cell, Rosemary's Baby, Don't Look Now, Witchfinder General, Friday the 13th and The Omen. That should confirm I was desperate! Long after I had stopped searching I found out about Paperhouse .
Paperhouse is based on a favourite book that I own, called Marianne Dreams. Paperhouse had also come up in some of the books I had found on horror films, but they didn't tell me about the link between book and film. I discovered the truth while on the Internet, I bought the film later that day.
I thought Paperhouse would not be faithful to the book and dull. Unfaithal it certainly was but dull certainly not. It was the answer to my prayers Marianne is renamed Anna in the film but most of the original story is the same. One day in school Anna draws a house in her scrap book (nothing remarkable about that) then she becomes ill and every time she faints or falls asleep she finds herself outside a creepy old house (and I mean genuinely unnerving). More she also finds that every time she puts something new in the drawing it appears in the dreamworld, EG an apple tree. Anna draws into the dreamworld a rather sad boy named mark who apparently is a person in the real world. Mark is a cripple but wants to leave the house, obligingly Anna draws in a lighthouse (a place to go to) but still the problem remains mark can't walk. So Anna decides to draw her father in. she gets her pencil out and gets too work, but the outcome is deformed and unsettling Anna particularly dislikes his eyes. Quote \"he looks like madman\". So Anna tries to rub him out and start again, but the pencil proves indelible (that means nothing can be rubbed out). Then Anna loses her temper and crosses out her father's eyes! I leave you too find out for you self the terrible consequences of the rash action.
Paperhouse truly is the British answer to A Nightmare on elm Street! The viewing of this film left me shocked and upset. But I have found what I was looking for after 2 years. The question is how dose the compare with Psycho? Answer, 1 the old dark house, 2 psychological parental fears, 3 a genuine shock, 4 and very scary music.
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user\nAs a lover of the surreal (in art and film) I was pleased to discover this film on IFC. It is definitely a keeper. Most of the other reviews tell the general plot (not all correct) so I won't bother to bore anyone with that. The main thing is the alternate worlds concept which is brought on by Ana's impending illness, and the way she manages to link with someone else after being so \"alone\", and finally with her family, which I believe is still at least a little troubled. It only can be called a horror movie in that it has frightening scenes but is a fantasy (with a little hint of \"coming of age\" only because Ana is a pre-teen who \"hates boys\"). I heartily recommend it to those who appreciate the stretch of their imagination.
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user\nNot knowing what this film was about, I checked it out at the video store and after seeing it, I enjoyed it. Little seen multi-genre flick from director Bernard Rose (Candyman, Immortal Beloved). Great story and characters. As a fan of Glenne Healdy's, I was surprised of her british accent. The only exception for this film was the ending. However, it is worth the rent.
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user\nWho would have thought that such an obscure little film could be so haunting and touching? I am really impressed. It's a shame that more people have not seen it. I loved, as always, Hans Zimmer's score. And what a directorial debut by Bernard Rose! Yet I wonder if I should call this a horror film. It could easily be argued that it is a fantasy or a drama as well. Well, regardless, I love the interpretive potential it has. Everything and everyone in Anna's (played by Charlotte Burke)dreams represents a real conflict in her life...the house itself, the tree, Mark, the lighthouse, etc. It is the many details such as these that make the film so good for repeated viewings. I hope I come across another little movie as loaded with emotion and psychological meaning as this one some time soon.
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user\nI've only ever seen this film once before, about ten years ago. I bought the DVD two days ago and after watching it I think it is even better than I remembered it to be.
Paperhouse is much more than just a horror. It had such an amazing level of emotion and great characterisation running through it. I especially thought Charlotte Burke was really excellent here. It's such a pity that she hasn't done anything else as she was an excellent actress altogether. Her portrayal of emotion throughout the film was perfect with just the right amount of subtlety to get the message across, especially at the end when she realised that although Marc had died, she knew he was going to be alright.
Several scenes did make me jump (which is a rarity for me in modern horror films), most notably the scene in the bathtub, the scene where Anna's father was chasing her with the weird radio in the background and the bit where the legs broke apart and crumbled to dust.
All in all, an excellent and very moving film.
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user\nI'm glad that this is available on DVD now. This film is an excellent example of the triumph of content & style over empty-headed flashing lights & constant loud noises.
Essentially, if you have a short attention span or lack the wit & imagination to engage with literary narrative you won't like this film. The reasons for this are quite simple, but unfortunately rarely achieved: Matthew Jacobs has done a fantastic job of transposing the story of Catherine Storr's novel 'Marianne Dreams' successfully to a screenplay. An unenviable task as anyone who has seen a film of a book will undoubtedly know.
The casting is excellent, allowing director Bernard Rose to use the actors in a way that is rarely seen now; they indulge in the craft of acting! I know, I know, actors doing their job & acting instead of resorting to mugging inanely at the camera lens whist a kaleidoscope of car chases, explosions & fire fights break out around them is a genuinely rare treat, but it does actually happen in this film.
This brings me to the final reason that this is a film for the imaginative thinker & not the spoon-fed tabloid reader - Apart from a solid script, direction & acting, it relies on atmosphere, suspense & implied horror. If it is to be categorized as horror then the presentation of 'Paper House' is more in the vein of Sophocles than Tobe Hooper.
In conclusion then, if you like lots of loud noises, explosions, constant cuts, & bright flashing colours you'd be better off watching 'Transformers', but if you like a suspenseful story which unfolds through a skillful & evocative use of narrative without insulting your intelligence by force feeding you cacophonous nonsense then this might just be your thing.
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user\nThis is a wonderfully written and well acted psychological drama. It is not really a horror flick so those looking for something like The Ring or The Grudge will be disappointed. What really surprised me about this film was the intelligence and subtle attention to detail in the plot and the effort made to be internally consistent. I also appreciated the absence of Dr. Phil psychobabble or New Age revisionism. Rather than advancing an agenda, the filmmakers just told the story, told it well and let the viewer think about it. The sparse dreamscapes were reminiscent of Wyeth paintings and amazingly effective.
A great example of how to make a good film on a small budget, without big studios, star actors, big-name directors (this was far better than many of Hitchcock's films), special effects or \"clever\" plot twists.
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user\nThis film is fantastic as it explores storytelling and fantasy in the way a child would, for adults. The idea of a child's drawings becoming a place she can physically visit and have influence over is wonderful. At the same time you could get all child psychologist about it and say she's really exploring her subconscious, just as we all do in our dreams when we sleep. The bit that gives me goose-pimples is when her Dad is in the paper house, and chases her. The only thing I can't stand is that it was marketed as a horror film...it really isn't. If you want to see something British with plenty of storyline which keeps you guessing without the usual cheap thrills most films have to use, then watch Paperhouse.
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user\n49. PAPERHOUSE (thriller/horror, 1988) Sick in bed with a fever 11-year old Anna (Charlotte Burke) has only her drawings to keep her company. Her health progressively worsens as a series of mysterious 'black outs' grip her. In each of these episodes she dreams of a house in a desolate field, with only a sickly-invalid boy named Marc (Elliot Spiers) inhabiting it. When a dark, unknown danger threatens her idyllic \"paperhouse\", the life of Marc is put in jeopardy. Her life is also in danger as these dreams mirror her own state of health.
Critique: Haunting first debut feature from British director Bernard Rose. Taken from a fable (\"Marianne Dreams\") by Catherine Storr, it leaves plenty of other 'original' fantasy works in its wake. Whenever a story deals with dreams and nightmares it is hard to give it the mixture of fable and reality to make it work in film form. Director Rose successfully captures the children fantasy world aspect along with a darkness that seeks to usurp them.
Feverishly scored by Phillip Glass, Rose knows how to use music wisely with expertly timed 'jump out of your seat' moments. Most thrillers are very sloppy in this all-important aspect of scaring the audience into not knowing what the next scene will bring. I also like the way he captures suspense and never lets it go or falter sluggishly into the next sequence of events. Also, his mastery of placing objects within the frame (as in his P.O.V.shots) gives the cinematography an added dimension it would otherwise seem to lack. Only in Europe will you find such ominous looking places as the ones presented here: the lonely house, the fields, coastal towns, watchtower etc.
Rose would follow this film with \"Candyman\" (1992), a true 'thinking person's' horror gem and bona fide cult horror favorite.
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user\nThis is one of three 80's movies that I can think of that were sadly overlooked at the time and unfortunately, still overlooked. One of the others was Clownhouse directed by Victor Salva, a movie horribly overlook due to Salva's legal/sexual problems. Another would be Cameron's Closet which strikes me as somewhat underrated--not great, but not nearly as bad as the reviews I've seen. Paper House is well worth your time and I think that it is one of those very quiet films that will just stick in your brain for far longer than you might think. I mean, 10 years after I've seen it and I still give it some pause, whereas something that I might have seen 6 months ago has gone into the ether.
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user\nI'm giving it only 9 out of 10, because I need to view it again, in a more current mind-frame to have a fresh perspective. What I remember is an amazing psychological thriller that dazzled my brain and my eyes when I watched it. I would watch it every time it came on HBO back in the day (probably 1990 or so). I might have even recorded it, but that recording is long gone, I'm sure.
I wrote to GreenCine to try and get this title in, they currently don't carry it. I hope I can find it at a local video store.
I would highly recommend giving it a try if you find it somewhere. It's interesting at the very least. If you enjoyed movies such as Edward Scissorhands, Beetlejuice, Gummo, or anything sort of strange and along those lines, try this one out.
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