When I heard there was to be an ABC [Australian Broadcasting Corporation] mini-series based on life in Changi [WWII POW] camp... with a focus on "elements of comedy", I was deeply sceptical and somewhat critical.

My father had served in the second world war. Such was the barbarity of the Japanese, he was able to talk about the horrors in and around Labuan (where he was stationed), until only quite recently. Along with my father, I had been awarded the fortune of knowing many great men (of stronger character and spirit than I shall ever have), who had witnessed acts of unspeakable barbarity at the hands of the Empire of Japan, and had never completely recovered. The name 'Changi' is destined to conjure horrific images for ages to come...

But upon viewing, I was highly impressed with the cast, the characters and the complex plot-lines of this wonderful series. I now regard 'Changi' as the highlight of my week, (bear in mind, I have viewed only three episodes so far... I hope the remaining episodes adhere to the standards set by the first three).

The black humour works uncannily well (however, the flatulence jokes are a little overdone), and while much of the horror has been suppressed, the series comes quite close in relaying the undaunted spirit of the survivors who were able to later continue with their lives in spite of the inhibiting memories.

The 'flashback' format of this series will be difficult for some to follow,

but I can not think of no better way to do adequate justice to the men who suffered deep emotional scarring proceeding internment... when painfully suppressed experiences are remembered, sometimes years after the horror.

One of the darkest chapters of the Second World War, the 20th century, and, (I would go so far as to say), in the history of mankind, is being relayed to a new generation through this series, and I hope it serves to relay the overwhelming adversity borne by the wartime generation.

Proceeding 'Changi', I don't think I shall ever be able to listen to the poignant tune 'on the road to Gundagai' in the same way again. Tune in...


My family and I enjoy this show and find it a fair thumb nail sketch of what the people went through.

My own father spent some time in Changi before going onto the Thailand-Burma Railway in "F" Force. Much as been said about the treatment the POW's received, I will just say that my father was 6 foot 1 inch and 196 lbs when Singapore fell, at the end of the war he was 5 foot 11 inches tall and 91 lbs.

No show could truly convey what the POW's went through, but this comes closer than most.

As the Ex POW's say, "If you didn't have mates you didn't survive." This show succeeds in getting this message across.


Having had a great grandfather be captured and sent to Changi during World War two I was hesitant to watch this when it was first screened on TV. My great grandfather kept a diary whilst he was in captivity and when he died over there his mates bought it back and I have been lucky enough to read it and feel I have at least some idea of what Changi was really like, first hand.

This is a fantastic recount of what happened to those poor blokes who were sent to Changi Prison and shows what hardship and cruelty they witnessed in order to protect their country. It is a terrific story of mateship, commitment and Aussie Spirit, that never going to give up attitude. It is worth watching if you like Australian History or anything to do with World War Two.

I enjoyed this mini very much and give it 10 out of 10.


Here we have a miniseries, which revels in in its flaws, and doesn't make us cringe because of them...it is excellent story-telling, which fuses black comedy, mateship (in a positive way), the pathetic waste of war, without the sheer unadulterated manipulation of a con-job like Life is Beautiful...it is an entertainment, not the meaning of life...and showcases the talents of actors both young and old...give it a go and tell us what you think...


This has got to be one of Australia's best productions. I completely disagree with the comments made by 'RamiNour101'.

This series shows the depth of Australian mateship and the lengths they went to to help each other out. Episode Five 'Eddies Birthday' is a great example of this and it really captures the Australian spirit.

The music used throughout the series only emphasised the situation that the men were faced with, their longing for home and their loved ones. The numerous amusing renditions of The Road to Gundagai captures the spirit of the men and the fact that they never forgot home, and that it was little elements such as the singing of a song that took them home for a short while.

As for the comment about it being racist towards Japanese people, the only thing to be said is that you can't change what happened. The Japanese did treat the Australians very poorly in Changi and to represent it as otherwise would be very misleading indeed. The comment about the screenplay being in accurate is also false. These six stories that are told in the series are composed from real P.O.W experiences.

The actors were superb; the best being in my opinion, Matthew Newton. His performance as David in the first episode was gut wrenching. From being a city boy, to being another nameless face to his captors. We see him change dramatically in the first episode because of his violent attack in the jungle, and in further episodes we can see how that one event has changed him, he is more aware of what is really going on and is always one of the first to help out the other members of The Secret Nine.

Stephen Curry also deserves a mention. His performance in 'Eddie's Birthday' is amazing, going from the larrikin of the group, to being sick, weak and unable to take care of himself. The displays of mateship in this episode touch you on an emotional level and make you proud to be Australian.

I study WWII at university level and have found this series, if not physically truthful, spiritually truthful, as it captures the true spirit of what it was to be an Australian Soldier.

Well done to John Doyle for capturing the spirit of Changi.


I've heard a few comments, particularly from prisoners of war, that CHANGI is not historically accurate, and that it is disappointing. Perhaps it is for those who actually had to live through this stuff, and much worse. But for the rest of us, who really have no idea of how prisoners were treated by the Japanese during World War II, CHANGI is a remarkable introduction. But CHANGI isn't a war documentary - if it had have been, then the historical accuracy aspect would have been paramount. It is a miniseries drama, with fictional characters and fictional situations (though based loosely on actual events I've heard and read about) - and at the centre of the story is the ideal of mateship. This group of young Australian soldiers, taken prisoner by the Japanese and held in appalling conditions for years, became mates through adversity and the strength of their friendships continued throughout their lives after the war. It is also a cultural study of the differences between the Japanese of the time and the western world, with its music, games and entertainment: in part 5, when it is becoming clear that Japan will lose the war after Germany has surrendered in Europe, the Japanese prison camp colonel insists that his country must study the culture of their prisoners - in order to defeat a people, one must defeat their culture - and to do this, one must understand it. All in all, Australia continues its rich tradition of producing exceptional television miniseries, and is an unrivalled world leader in this regard: vyeing for the AFI Award with CHANGI is MY BROTHER JACK, the adaptation of George Johnston's novel, and also a worthy winner. Miniseries in recent years include DAY OF THE ROSES (the story of the investigation into the Glanville train crash), KINGS IN GRASS CASTLES (the adaptation of Mary Durack's historical account of her pioneering ancestors), KANGAROO PALACE (about a group of friends from a country town in Australia who travel to London and change and grow apart), and the (somewhat disappointing) adaptation of Bryce Courtenay's powerful novel, THE POTATO FACTORY. Less recently: Nancy Cato's sweeping saga of life on the Murray - ALL THE RIVERS RUN; Cusack & James' brilliant novel about postwar life in Sydney - COME IN SPINNER; Colleen McCullough's outstanding pioneering saga - THE THORN BIRDS; THE RIVER KINGS; Ruth Park's novel THE HARP IN THE SOUTH; BODYLINE; EUREKA STOCKADE; ANZACS; etc..., etc... (Of course, there have been some not-so-good productions - for instance, MOBY DICK, DO OR DIE, ON THE BEACH, THORN BIRDS: THE MISSING YEARS; etc...) Generally, though, if an Australian miniseries comes your way, make sure you see it - and this goes double for CHANGI, a superbly directed masterpiece. Rating: 9/10.


As soon as I saw the ad for "Changi" on the History Channel, I knew I'd love it. It captured the ANZAC spirit fantastically - you would die if you didn't have mates around you. The characters of "Changi" were strong and each brought something different into the story, and the Japanese soldiers weren't criticised, but were depicted as normal soldiers doing what they thought was right, just as the Australians were doing. Direction, screenplay, acting and setting were all done wonderfully, with a clear easy-to-follow plot. Humour was the soldiers' key to survival, and it was great to see a mini-series about war actually have some sort of humour in it, which is usually difficult to do without offending people. From what I've read about soldiers in Changi PoW camp, this story is a very realistic approach to the three and a half years those Australian, British, New Zealand, American and Dutch men spent there. I would recommend this series to anyone, whether you are interested in war or not. 10/10.


Somehow, CHANGI lost out in the AFI Awards to MY BROTHER JACK. The latter, a high-quality adaptation of George Johnston's immortal novel, was outstanding - but, in my opinion, not as good as CHANGI. I have heard that many critics dismissed CHANGI as being irrelevant, unimportant, historically inaccurate or even disrespectful. Who and where are these critics? CHANGI is outstanding. More than that. Brilliant. It's not supposed to be a documentary - certainly I can forgive the actual Changi survivors (or indeed any survivors of a POW camp) for being disappointed with the production - but to the rest of us, CHANGI represents the remarkable power of mateship in times of extreme adversity. It contains a part of the Australian culture that appears to be diminishing as times become easier and less challenging, but which we should never forget: Australians were respected worldwide after Gallipoli and WW2 for their comradery and sense of humour. Rating: 96/100. See also: GALLIPOLI; PARADISE ROAD; THE LAST BULLET; THE SUGAR FACTORY.


This would have to be by far the greatest series I have ever seen. I vividly watched every sunday night and purchased the box set as soon as it was available. this is a timeless play written by a fantastic Australian that people of all ages could relate to, whether they are Australian or not, however for those of us that are Australian it truly brings across the typical Australian icon. A must see 10/10


Changi has a delightfully fresh script, acted superbly by both young and old actors alike. John Doyle has done an excellent job bringing humour to a tragic true story, keeping a sometimes sad story fun and engrossing, particularly to those of us not familiar with the events of South East Asia during WW2.

John Doyle's parallel story line successfully bridges the gap between past and present, allowing the audience insight into the long-term effect war had on the prisoners and their family's lives as well as providing the basis for an excellent narrative which nicely rounds out the tales, both individual and collective. Doyle deserves praise for this effort. We have in the past been delighted by his abundant and quick-witted humour as evidenced in his long running collaboration with Greg Pickhaver as `Roy & H.G.'

As the series is approaching half way, we are looking forward to how the story develops with anticipation.


Never have i sat down for six hours straight to watch a miniseries, but Changi changed that. I'm not going to lie, I know some Aussie flicks can be pathetic and boring (actually, i quite like Aussie flicks myself but maybe I'm biased) but Changi is on a completely different lane. Although not historically accurate, as we are continually reminded, the show combines superb acting, an excellent script and the addition of humour to provide us with an entertaining and emotional perception of life in a POW camp in WWII.

Keep in mind, the show was not supposed to be a documentary so don't let any factual errors disappoint you.

This series exposes such creative writing by John Doyle (aka Roy Slaven)who is known more for his comedy than anything else, and an excellent director and actors move this creativity along perfectly. If you want to see how much hard work went into this series, visit the official website, it is really interesting and you'll learn a lot about true accounts of changi.

If you haven't seen Changi yet, make sure you are doing nothing for a whole day because you'll want to watch the series in its entirety.


I saw this drama by cable TV. Although I saw just two series, I love this drama. I'm waiting for more series will be aired by cable.

Even though it describes horrible, absurd situation in a prisoner's camp, this one shows us an indomitable spirit, warmth, friendship and humanity. They don't know whether they can survive or not, but kept their hope strongly without being discouraged by adversity.

I know this movie is not realistic like other war documentary, but I don't want to blame for it. It makes me believe the strong will of people in the most difficult situation.

'Private Bill' , especially, this episode touched deep in my heart.

I remember every scene. I always hate mathematics. But after seeing this drama, I can understand something about mathematics... Mathematics is his connection between past and present, also symbolizes eternity.

'Time, light and memory framed in a circle.'

Like other victims of war, he lost his lover by irresistible fate. I'm immersed in his time and memory as if I experienced same thing.

He experienced the great loss but he has pure passion of study.

He started his study in the camp, his joy of realize,

I believe his dedication of study sustained him.

I saw it several times, but the meaning of this film never faded. Every time I saw it, I feel same deep emotion.

* Their songs are beautiful, harmonious,

I'm sorry that I can't listen OST.


This mini-series is iconic of the Australian spirit. While there may be what are perhaps considered glaring inconsistencies, the film portrays a spirit that is unique to Australia, and one that should be cherished. If anything, this mini-series demonstrates the Aussie sense of humour. The ability to laugh at the supremely ridiculous. Our willingness to have a laugh in even the most dire of situations. While a large part of this series focuses on mateship and how humour can be used as a means of survival, it also has elements of drama that are evoke real emotions. The main actors who appear are absolutely sensational and very convincing in their different roles. Capturing the essence of their characters perfectly. This mini-series should be mandatory viewing for all Australians.


Apparently this Australian film based on Nevil Shute's novel exists in more than one form. Beware heavily cut versions sometimes shown on cable or satellite, running anywhere from 95 minutes to 2 hours. Only the full 5 hour miniseries version tells the story properly. It is a very close realisation of the story, suffering only from editorial faults commonly found in TV movies: choppiness and episodic progression. But this excellent cast carries the story forward very well with generally good production values accompanying their work. Yuki Shimoda is notable as "Gunso Mifune", one of the guards assigned to accompany the women on their agonising trek. In the end he becomes a friend. You will agonise with him when his loss of face leads him into death.Helen Morse as "Jean Paget", pretty but not a great beauty (she resembles Sigourney Weaver a bit)registers just the right amount of spunk and winsomeness as the occasion demands. The miniseries properly emphasises the beautiful love stories, three of them: "Joe" and "Jean", "Noel" and "Jean", and "Jean" and Willstown. Gordon Jackson plays "Noel Strachan" appealingly, but as a somewhat younger man than Nevil Shute indicated in the novel. The third love affair I mentioned doesn't get quite the emphasis it is due, and the full significance of the title is diminished. "Jean" is devoted to the goal of bringing businesses to Willstown that will attract young women and girls and their civilising influence to this god-forsaken out back town. She wants to make it "A Town Like Alice"; Alice Springs, that is. We get only a few hints of this in several scenes. If you have the five hours to spare, this miniseries is a truly rewarding experience. Nevil Shute based his novel about the cruelty of the Japanese military in shunting a large group of women and children from one place to another on the Maylay Peninsula on a true occurrence. It happened on Sumatra, according to Shute, though, rather than on the peninsula. The crucifixion of "Joe" by a Japanese officer for stealing chickens to feed the women is probably fiction, but the cruelty of the Japanese in dealing with prisoners is certainly a matter of record.


I have seen this film at least 100 times and I am still excited by it, the acting is perfect and the romance between Joe and Jean keeps me on the edge of my seat, plus I still think Bryan Brown is the tops. Brilliant Film.


I remember watching this series avidly and being so disappointed when it came to an end. Over the years since then, I have tried to find out if I could obtain a copy of it on either video or d.v.d., to no avail. However, I was delighted to find this website with details of it, only to be disappointed again at the point of purchase, that the videos available will not play on English recorders! This production was so wonderful, being absolutely accurate with Nevil Shute's novel, taking the storyline through after the end of the war, with Joe and Jean's subsequent life together - absolutely marvellous - and I just wish I were able to see it again, as since it's original screening, there have been no repeats of it on British television.


I raced to the library to check out this miniseries after having just finished listening to the marvelous "talking books" unabridged version of the book. The first half of this TV version is really very good, but it stumbles quite a bit in the second half. The relationship with the trustee is overplayed and conflicts are inserted between Jean and Joe that don't exist in Shute's story, unwisely in my opinion, as they greatly diminish the power of their love story. I was disappointed to find that the wonderful Bryan Brown's Joe seemed a lot cockier and much less appealing than the man in the book, but Helen Morse's Jean was really quite good. I think they would have had to make this a 10-hour miniseries to develop the outback story properly. But all that said, I did watch whole thing in more or less one go and did appreciate its merits, all the while wishing that someone would do a less soapy remake.


This movie is a sleeper - I've watched every miniseries that was ever on TV, some many times, and this one is the best. Wonderfully cast, superbly acted, and the characters are well-developed. Helen Morse perfectly fits the part of Jean Paget - strident, in control, sharp, and a bit belligerent. She bounces well off of Joe Harmon, the cowboy/taciturn/"It'll be okay" sort of guy. I was sorry that the movie didn't stick to the book, in that there was no romantic interest between Noel Struan and Jean Paget. For those who don't know, this is taken from a true story about English women marched around Malaya for 3 years by the Japanese, who indeed did not know what to do with them. Very few of them survived. Neville Shute talked to one of them, and this is her story. This movie deserves to be in everyone's collection who loves WWII stories.


This review contains what might be a spoiler if you never read the book or saw the cover of the video box. So if you want to approach the movie not knowing anything about it, except that I like it a lot, stop here...

The production values are not first rate, but the acting between the leads is, and they give the romance between them more life than Shute does in his novel (although I generally prefer the novel). My very faint objections to the film as opposed to the book is that the film dumbs-down some of the relationships with secondary characters, and between the lead characters in a scene toward the end of the film, to provide for some not at all realistic dramatic tension and as a general plot device. All this is handled much better in the book, with the result that I find the end of the book quite a bit more touching than the end of the movie.


This is one of my favourite books and I remember watching this series and loving it immensely. Sadly I have never seen it repeated or been able to get on DVD, but it made such an impact I have never forgotten it.

The lead characters were perfect for the roles, especially the lovely Bryan Brown and although the scenes in Australia were not entirely in keeping with the book at least they were there, unlike the film version with Virginia McKenna which missed that part out altogether.

I agree that Gordon Jackson's character of Strachan is entirely different from the book but he is still excellent. For your information "MOLEY75" "Strawn" is the gaelic pronunciation of "Strachan".


If you love the book, as I do, stop watching the video after Jean and Joe meet in Australia. Up to that point it is a fairly faithful rendition of the book, and the visuals are great. 10 out of 10 to that point and I've enjoyed it many times. After that, the story is seriously rearranged and revised in ways that really destroy the key part of the book, i.e., how Jean creates a town like Alice (Springs). In the early part, the major change is to make Strachan a 40-something bachelor instead of a seventy-year old widower. This rather skews this love story, especially when there are also small changes that contribute to making him more selfish and avaricious, such as: in the book, he intimates to Joe at the ship that he might find more than a letter waiting for him in Australia, but in the video he gives Joe no clue about Jean's whereabouts or intentions. The last hour of the 5-hour video scrunches and mangles the last third of the book. I see no reason why they threw in a fight between Joe and Jean -- it is quite out of character and seems to be just an Aussie dig at Pommies for telling them what to do. Then they bring on Strachan for the wedding (instead of some three years later) -- and have him read the toast!! -- very strange, especially in the context of the relationship between Jean and Noel as cast in the video. The whole wedding scene is the invention of the screenwriters. These abominations take up time in the last hour, which was already not long enough to do justice to the fascinating story of how Jean recreates Willstown as a place where she and Joe can both be happy.


I can't count the times I have watched this, and although it differs from the book in story line the mood is still the same. The bond that two such diverse people give each other that surpasses trials and years is immortal. And that the element of the women prisoners was an actual event, that did happen to real people. The story is about the strength of character of ordinary people, people who just tried to survive a horrible time in their lives. And this also presented Australia in a real mode. The country is like all countries, areas that everyone loves, quaint country areas and desolate areas. But it gives Shute a stage for Jean's transformation from a lowly outback town to a family community.


Jean Paget, Joe Harman, and Noel Strachan--all are unlikely heroes and survivors. Petite but strong Jean whose strength and resolve help save lives, marching hundreds of miles and with calm self-discipline and persuasive powers, Joe Harman ("oh my word") who took risks for Jean and the other prisoners, only to suffer the worst pain imaginable, and Noel Strahan, who trusted Jean regardless of the odds. Her good humor and hardiness inspire everyone around her, and those with the courage to go in with her are rewarded. The beautiful scenery and musical score adds to the adventure. Despite the length it was never boring to me. These ordinary people did extraordinary things and it is based on a true story. Someone borrowed my VHS a few years ago and I never saw it or them again. Learned my lesson, mates, and will buy another copy when it can be found. It's a shame the miniseries is not on DVD.


I cannot believe it has been 25 yrs since I first watched this story on TV. I remembered to have been very much touched by it and was lucky to get the VHS tape several years ago. I did not watch it again until just recently. I have been watched it over and over ever since. I must have watched it 10 times in the past 2 wks.

The acting is superb, the story is compelling, and I am embarrassed to say that I did not appreciate actor Bryan Brown's talent until now. The playful facial expressions shown in the first half - when he gave Jean the stolen medicine in Malaya is such a contrast to his very reserved and nervous body languages shown in the second half: in their first drink together in Caines and the touring of the homestead. We have to wait until the wedding reception, especially the final dance scene to see his open display of affection for Jean. The same dancing eyes that first revealed his admiration in Malaya. Who wouldn't want to be his Mrs. Boong ?

While Joe changed from a cocky, almost bigger than life figure in the Malaya jungle to a somewhat self-conscious average Joe in his own backyard, Jean took the opposite road; her wartime experience seems to have given her new confidence. She wasted no time and went after what she wanted. She took steps to take what she could get - exactly as Joe had told her to once upon a time.

For me, all these transformations helps to show this is more than just a love story - this is a story about growth, courage and fragility in life. The solicitor -Noel is both a sweet and sad figure. He too gave much to Jean - he gave his last hope for love. At the end, he did what true love requires -- he put her happiness ahead of his own.

I happened to like the fight between Joe & Jean that was not in the book. I thought it's an appropriate and necessary addition for it helped to surface the inner struggles they both had to deal with in order to make their life together possible.

Now, I am older, maybe I understand life, love and loss a little better. This story touches me even deeper.

I am, however, surprised to see B. Brown has blue eyes in the promo photo shown on this site. He most definitely did not in "A Town like Alice." Well, 25 yrs is a long time !


I don't know where this movie was shot, but because it was shot on location, it has the authenticity that this story deserves. It is the story of a young English woman who is taken prisoner by the Japanese in southern Asia at the beginning of WWII, with a group of other English women. There is no prison camp for women so they are forced to march for months from place to place, because the Japanese don't know what to do with them. The courage and resilience of the English women, and the bravery of the Australian soldier who tries to help them, is the core of the movie. This movie is very long, maybe 10 hours, so you can watch it as it was shown on PBS, as a series, which actually adds to the feeling of the endless journey this woman makes from England, across this remote island, and finally Australia. Story, cinematography, location and actors combine to make this a movie not to miss. My only question is why this hasn't been released on DVD!


"The Gay Desperado" is wonderful throughout. The banter between Leo Carrillo and Harold Huber is as funny as anything you would hear in a movie today. Best line? "That would be my third choice!" "Diego" is obviously the archetype for Kevin Smith's "Silent Bob". Lucien N. Andoit's black and white cinematography (particularly with the banditos' shadows) was striking. All I can say about Ida Lupino is, "Thank God for DVD!" You can go right to the scene where she is trying on sombreros and serapes and watch her standing in front of that mirror over and over again.

Lest I forget, that Nino Martini guy sings real purty, too.


If "Love Me Tonight" is "the musical for people who don't like musicals", it has to be said that "The Gay Desperado" is definitely not a musical for people who don't like opera. In fact -- despite apparently being based on a comic operetta -- it is not really a musical at all but a spoof bandit story with interpolated unrelated arias to show off the voice of one character; and what a voice it is.

Nino Martini, as the young singer Chivo who joins the bandit troop to get a spot on the radio (no, the plot doesn't make a lot more sense later on either...), has a glorious golden tenor whose style hasn't dated a day since the era when it was recorded. The trillings and warblings of some of his musical contemporaries belong to a bygone fashion, but it's very easy to picture Chivo belting out "Nessun Dorma" to a World Cup crowd and topping the charts in the process. Unfortunately, while he has an engaging grin and a decent dramatic range, he is completely incapable of acting and singing at the same time. The result is that the otherwise rapid-paced film grinds to a shuddering halt every time Chivo lays his hand on his breast and starts to declaim, and the viewer's tolerance of the result is likely to depend on his appreciation of operatic performance.

Aside from this drawback, the film is an enjoyable broad-brush satire on Hollywood conventions and the Mexican bandit stereotype in particular, which achieves the vital goal of all such spoofs in making its characters engaging enough in their own right to hold the viewer's interest when the joke would otherwise have grown stale. The bandit chief and his sidekick have the traditional double-act relationship, there is an enigmatic peon with a carved-teak face, and a spirited heroine (a young Ida Lupino) who performs the generic "you say you hate me but you love me really" routine with a refreshing twist.

Overall the film is entertaining and pretty funny, and I feel I did get my money's-worth -- but it can't be denied that the musical interludes, while admirable in their own way, introduce severe pacing problems.


HUNT FOR JUSTICE is a Canadian television drama that has made it to DVD and that is reason for gratitude for those who hunger for educational dramas that inform us about facts of current history that somehow get buried in the media. The film is not a Hollywood production, it relies heavily on footage from court files, but it also introduces to many of us the act of heroism of Louise Arbour in bringing about the trial of Yugoslavian President Slobodan Milosevic.

Louise Arbour (veteran Canadian actor Wendy Crewson) is a Canadian judge appointed by NATO as the Chief War Crimes Prosecutor at the International Criminal Tribunal in The Hague. The film begins in 1996 when Arbour travels to The Hague to face the political obstacles that are preventing the Tribunal to bringing to justice the war criminals in the war Yugoslavia has been waging in Serbia, Croatia, and Bosnia, a war that has gross evidence of crimes against humanity in the form of genocide, extermination camps, and other heinous abuses. The progress toward bringing the criminals to justice is hampered by generals (including one played by William Hurt) who fear a major World War if precautions against same are infringed upon. Arbour, with the keen help of her translator Pasko Odsak (Stipe Erceg), her staff including Keller (Heino Ferch) and the unexpected assistance from British Capt. John Tanner (John Corbett), forges ahead, focusing the impossible task of bringing all responsible parties to justice on three specific events. Two of the three top suspects are captured but during their trials each meets his end. This leaves only Slobodan Milosevic himself, and Arbour and her colleagues are successful in bringing the war criminal to justice in 1999.

There are several touching side plots employed in the telling of this well-documented tale, stories that make the point in history more personal. Some may find the film footage of corpses and prisoners and death camps too strong to watch, but they are necessary to bring home the purpose of the film. Wendy Crewson carries the power to drive the message home - the message that war crimes must never go unpunished. There is much current history to be learned from this film: writers Ian Adams, Riley Adams and M.A. Lovretta have condensed the information and made it dramatic as well. Director Charles Binamé balances the docudrama with the story progress, never forgetting that he has a tale of intrigue to tell as well. HUNT FOR JUSTICE is worth watching! Grady Harp


Hunt for Justice is about the setup of Slobadon Milosevic for his trial in the Hague. While it was a little too clinical in presentation the subject matter could have gotten very depressing very quickly. A Canadian Judge, Louise Arbour, becomes the Chief War Crimes Prosecutor at the International Criminal Tribunal for the UN in Yugoslavia. She battles everyone to pull out the evidence that sent Milosevic to trial. Not a bad docu-drama with class A directing and production work. The 'evidence' was disturbing by the shear discussion of the facts, happily they didn't go into too much detail and no real pictures of the tortured.


I found this movie to be educational, entertaining and very moving. I was impressed when I learned of just how much Justice Arbour had contributed in during her time in Kosovo.

Wendy Crewson is highly under rated and it is good to see her again in a Canadian production. Other easily recognizable stars are Leslie Hope (24) and John Corbett (Sex in the City.)

While the story line of this movie may not be completely factual it did leave me with the desire to learn more about the word of Arbour. A great movie for inspiring young women.

I say the movie is a "must see."


I really enjoyed watching this movie! Only a few parts were slow, but it was only setting the mood and building up to the action. I thought this movie was very educational, it taught me more about my Croatian heritage. I also learned more about Louise Arbour, and I can say she has a very great influence on me. Time magazine named Louise Arbour one of the world's 100 most influential people in April of 2004. I recommend this movie to people that like historical movies (obviously). This movie was very dramatic, but still told the truth of events in the former Yugoslavia. Louise Arbour is a brave hero, and I'm glad they made a movie honouring her. If you see the movie, I hope you'll like it.


this was a thoughtful and well-shot and directed TV movie that took on a huge subject with precision and intelligence, and gives it a film treatment that would look great on a bigger screen -- the palette is a little muted for TV. if you're looking for a war action film or "bosnia lite", this isn't for you -- it's about an ordinary woman who took on an extraordinary challenge for humanity. if you want to learn more about the conflict and how the work of one woman influenced the world in a massive way, watch this film when it comes your way. i don't see that a lot of other TV films have dealt with the issue of genocide and ethnic hatred at this level. the story avoids obvious demonization of "the bad guys", and instead shows the denial and everyday hatred that resulted in deaths of thousands. i was moved at several points, and not in some manipulative Hollywood way with driving music and flashy mise-en-scene, but allowed to discover the horror and implications along with the characters. this is a film brave enough to let the content speak for itself, and keep the visuals understated to support it with dignity.

the actors do a helluva job at bringing the intense dramatic scenes to life. the scenes where victims give their testimony before the war tribunal are powerful, and Wendy Crewson, Stipe Erceg and Heino Ferch are excellent. William Hurt's British accent is awful -- no one else has given him a chance to play a Brit, and when he finally has it, he blows it! -- and although John Corbett's body was born to play a soldier/commando, he's a little too gee-whiz nice, although he does a good job.


My friend gives me these 3 huge boxes. "They're laserdiscs of Flash Gordon serials," he says. "I'm gonna have some giant coasters," I say. But not so. This serial rocks. (But I had to whine & moan to almost everyone I knew to find a laserdisc player for em).

There is really a little of everything in this serial: There are lion-men, hawk-men, shark-men, Earthmen, & I guess you'd call em Mongo-men. The sets & costumes combine, Greek, Roman, Oriental, Egyptian and there's even armour like English knights. Awesome costumes. And some of it was a riot. Those horrible tights with shorts over em worn by Zarkov are beyond description. And the guys in the furnace scene seem to be wearing boxers.

It's also funny the way they renamed the octopus to an octosack, the orangutan to orangapoid, and the tiger to a tigron. There's even a dragon (a Godzilla-like creature who threatens Flash on a couple of occasions before being killed off).

You like the Invisible Man? This has got you covered. You like sword fights, wrestling (both animals & men), fist fights? Plenty for any taste. We have an underwater city, a sky city, a city on top of a mountain, and tonnes of secret passages and caves.

Hokey effects? Massive amounts. The sky city is supported by radium furnaces stoked like old-time steamships. The rocketships are "powered" by fireworks and have constant backfires and/or humming noises. Lots of wires are visible holding things up (like food when Flash was invisible and of course rocketships). There's clouds out in space, but none around the earth when viewed from Mongo. "Giant" lizards show up briefly. Fighting sea creatures supposedly threaten Flash & co. on the way to the shark-men's underwater city. The "gadgets" in Dr. Zarkov's lab crack me up. And they seem to be the same ones no matter what lab he's in (he worked in Ming's lab and Vultan's).

And yeah, we have romance. Everyone wants Dale; Ming, Vultan, Flash. But at least one person wanted Princess Aura (Prince Baron) just not the person she would have preferred. In fact, it seems a lot of the sub-plots concern intrigue on the part of Princess Aura to try to win Flash.

Man I think the characters are awesome. That fat, horse-laughing, King Vultan was hilarious. How he managed those wings was pure artistry. And Ming! What can I say about Ming? He was perfect. They should have had him for the emperor in Starwars. Ming has got to be my favourite character in this serial. Princess Aura was quite a little character too. And she pulled it off nicely. I think she's a better actress than Dale Arden by a long shot. Even the sneaky high priest had a distinctive role. Zarkov was good, but not the strongest character---and he always stood in the background during fight scenes holding Dale. Now we get to Flash: Flash, of course, was the strong point, the leader, the hero---and he did it well. Crabbe is a good actor and this role fit him perfectly.

After watching this, I think I know where George Lucas got the main idea for Starwars. Watch this, you'll see what I mean.

If you ever considered watching an old serial (or any serial for that matter), this should be your first choice. The only reason I didn't give this one a 10 is because of a few story holes that could have been fixed easily, the way the giant lizards seemed just tacked in there, and a couple of weak characters (king of shark-men & king of lion-men).


After 66 years "Flash Gordon" still has an appealing scifi/adventure/epic feel that many of today's science fiction adventures strive for and fail to deliver. The only way to fully enjoy this serial is just to sit back and not pick at anything (hokey effects, dialogue, why Flash doesn't go for Princess Aura etc.). And as for you older people who saw "Flash Gordon" back on the serial screen or on T.V. "back in the day", if you want this fine serial to remain appealing to future generations, get your kids/grandkids to watch this when they're young. It worked for me (Male aged 18 or under). 9 out of 10


The Standard bearer of all movie serials, the definite good guy - Flash Gordon - versus Bad Guy - Ming the Merciless. Though the special effects seem awful by today's standards, for 1936 they were top notch. But the essence of the story is the battle between Earthman Flash Gordon (Buster Crabbe) versus Emporer Ming of Mongo (Charles Middleton). Crabbe and Middleton are terrific in their parts. And the supporting characters playing Dale Arden, Dr. Zarkov, Princess Aura, Prince Barin, Vulcan, and the rest are all very good. This serial is far superior to the 1980 movie, basically because Crabbe is much much superior to Sam J. Jones as Flash Gordon.

This serial is the standard bearer for all movie serials. No question about it.


Flash Gordon was a first rate serial. I know there were a few goofs, however, i didn't watch it for the flaws. Buster Crabbe is Flash Gordon. He was not a trained actor but he gave a very good, convincing performance. Jean Rogers is pretty and at 20 yrs. old did, in my opinion, a pretty good job. Charles Middleton as Emperor Ming, is superb. He was in a lot of other movies, quite versatile, he could sing and dance. His portrayal of "Ming The Merciless", in all 3 Flash Gordon serials, was top notch. The rest of the cast also did a very good job. Well, boys and girls, get some popcorn, settle back and enjoy. John R. Tracy.


Flash Gordon is, undoubtedly, the best of all American serials. In a date so early as 1936,Universal was capable of making such an entertainment story, and twenty years later when I watched it for the first time as a kid it involved me in a great adventure and emotion. Buster Crabbe was the hero we always wanted to be in our childhood, and Jean Rogers the beautiful girl we always dreamt to be in love with. Dragons, octopus, monsters,gorillas were also the attraction. Charles Middleton was a great presence as Ming, the Merciless. A true predecessor of George Lucas´s Starwars.


Arguably the finest serial ever made(no argument here thus far) about Earthman Flash Gordon, Professor Zarkov, and beautiful Dale Arden traveling in a rocket ship to another universe to save the planet. Along the way, in spellbinding, spectacular, and action-packed chapters Flash and his friends along with new found friends such as Prince Barin, Prince Thun, and the awesome King Vultan pool their resources together to fight the evils and armies of the merciless Ming of Mongo and the jealous treachery of his daughter Priness Aura(now she's a car!). This serial is not just a cut above most serials in terms of plot, acting, and budget - it is miles ahead in these areas. Produced by Universal Studios it has many former sets at its disposable like the laboratory set from The Bride of Frankenstein and the Opera House from The Phantom of the Opera just to name a few. The production values across the board are advanced, in my most humble opinion, for 1936. The costumes worn by many of these strange men and women are really creative and first-rate. We get hawk-men, shark men, lion men, high priests, creatures like dragons, octasacks, orangapoids, and tigrons(oh my!)and many, many other fantastic things. Are all of them believable and first-rate special effects? No way. But for 1936 most are very impressive. The musical score is awesome and the chapter beginnings are well-written, lengthy enough to revitalize viewer memories of the former chapter, and expertly scored. Director Frederick Stephani does a great job piecing everything together wonderfully and creating a worthy film for Alex Raymond's phenom comic strip. Lastly, the acting is pretty good in this serial. All too often serials have either no names with no talent surrounding one or two former talents - here most everyone has some ability. Don't get me wrong, this isn't a Shakespeare troupe by any means, but Buster Crabbe does a workmanlike, likable job as Flash. He is ably aided by Jean Arden, Priscella Lawson, and the rest of the cast in general with two performers standing out. But before I get to those two let me add as another reviewer noted, it must have been amazing for this serial to get by the Hayes Office. I see more flesh on Flash and on Jean Rogers and Priscella Lawson than in movies decades later. The shorts Crabbe(and unfortunately for all of us Professor Zarkov((Frank Shannon)) wears are about as form-fitting a pair of shorts guys can wear. The girls are wearing mid drifts throughout and are absolutely beautiful Jean Rogers may have limited acting talent but she is a blonde bombshell. Lawson is also very sultry and sensuous and beautiful. But for me the two actors that make the serial are Charles Middleton as Ming: officious, sardonic, merciless, and fun. Middleton is a class act. Jack "Tiny" Lipson plays King Vultan: boisterous, rousing, hilarious - a symbol for pure joy in life and the every essence of hedonism. Lipson steals each and every scene he is in. The plot meanders here, there, and everywhere - but Flash Gordon is the penultimate serial, space opera, and the basis for loads of science fiction to follow. Excellent!


As previously stated in one of my great reviews, the Universal Pictures'Trilogy of FLASH GORDON should not be classified with the other serials. For,indeed the three of these have made a sort of celluloid-electronic mythology for a punchy, war phobic mid twentieth century world. They stand alone in many peoples' minds as THE example of just what a cliff hanger was.

We can recall seeing Buster Crabbhe as a guest on NBC's late night talk show, TOMORROW, hosted by Tom Snyder. This was circa 1979-80. During the interview Mr. Crabbe was asked about his personal fitness habits. He credited weight training and swimming, coupled with some sound dietary habits-which included vitamin and protein supplementation.(And would you believe it, he smoked several cigarettes!)

When questioned about his career, Mr. Snyder of course got to the subject of his portrayal (and strong identification with) the character of Flash. Buster stated that he had read and enjoyed the feature in its original medium, that is a comic strip the property of Hearst's King Features Syndicate. He stated that he had thought that it would not work once transferred to the screen! Luckily he was wrong.

As for the 1st serial, it was a very good adaption of the original continuity from the Sunday Color Comics. The world is about to end because of impending collision with Planet Mongo.It's up to independent working Dr. Zarkov to rocket to the wild planet to change its course. He enlists the aid of Flash and Miss Dale Arden, newly acquainted parachuters from airliner, landing in Zarkov's property.

The Serial has excitement through out and manages to make one feel that there is always some other peril lurking just outside the film frame. The costuming and decor is varied,from Romanesque to Oriental to Art Decco. It would be easy to surmise that this was due to frugality on the part of Universal,but once again this was being faithful to creator,cartoonist Alex Raymond's visual concepts.(just look at the old strips as reprinted in many collections) The rockets were used before in JUST IMAGINE! (Fox 1930), a science fiction musical comedy.The other scientific lab equipment was provided by Universal's prop dept.,being the top Hollywood company doing Horror and SciFi.

The cast features Jean Rogers(Dale Arden) and Priscilla Lawson (Princess Aura)who get into a good girl vs. bad girl battle over Flash. Charles Middleton portrays Emperor Ming in a sort of overly melodramatic villain,but makes it work. Zarkov(Frank Shannon)is toned down from the sheer madness that he suffered in his appearance in newsprint. (by the way, ever wonder how Zar-KOV has a brogue?) Richard Alexander makes a fine, powerfully built Prince Barin, ever helpful and so noble.

Comic actor Jack "Tiny" Lipson is the surprise of the cast, stealing scene after scene as a lecherous, Henry VIII like scoundrel turned ally, King Vultan,ruler of the Hawkmen. Among the others, most notable is Jim Pierce as Prince Thun of the Lion Men. Pierce,like Crabbe, had also portrayed Tarzan in a film-but he later married Tarzan Creator, Edgar Rice Bourroughs' daughter, Joan.

FLASH GORDON and the two sequels, FLASH GORDON's TRIP TO MARS(1938) and FLASH GORDON CONQUERS THE UNIVERSE(1940), have been a staple juvenile fare for generations,first in the movie houses then in Television release. Like fine wine, they seen to get better with age.

We're all so glad that Mr.Crabbe was wrong.


One of the most famous of all movie serials! Still interesting today although it does have an "old movie" look to it. The second serial looks better but simply does not equal this one. Actors have a good time , especially Middleton and Lipson. Great editing by the Universal expert crew. The musical score was tracked in from Universal's "Destination Unknown", "The Invisible Man", "The Black Cat", and "Werewolf of London". And what great action music it was! If there was a choice for all-time best serial, this (arguably) should be #1.


this took me back to my childhood in the 1950 's so corny but just fab no one ever could play FLASH GORDON like LARRY BUSTER CRABBE, just great. i have two more series to view flash gordon's trip to mars and flash gordon conquers the universe cannot wait


In the 60's Cleveland television audiences could watch a episode of "Flash Gordon" as part of the Ghoulardi Show (11:30PM Friday). This was the best mockfest material any of us in junior high had ever seen. We would have regular "sleepovers" (although we did not call them that) just to get in on the fun of watching this stuff with a group of friends. Then the next week we would quote our favorite cornball lines from the latest episode.

Watching it today provokes much the same reaction. But if you can stop laughing at the dialogue, the lame creatures, the silly costumes, and the horrible spaceships long enough, there are some good things I did not appreciate the first time through. The production designers built some excellent sets, both the rooms and the laboratory devices. Charles Middleton's "Ming the Merciless" character was the all-time best screen villain, certainly up to that time and arguable better than anyone since. Jean Rogers is staggeringly beautiful.

Then again, what do I know? I'm only a child.


The brainchild of comic strip pioneer Alex Raymond, "Flash Gordon" was the grand daddy of all sci-fi epics. This serial is the first time Flash was brought to celluloid life. Despite it's low budget, this is a great space opera.

The story begins with Earth doomed to apparent destruction, when the Planet Mongo comes hurtling through space on a collision course. Maverick scientist Dr. Zarkov is headed off for the approaching planet in a self-made rocket ship, convinced he can do something to stop the runaway celestial body. He gets some last minute recruits in the form of resourceful athlete Flash Gordon and beautiful Dale Arden. Once they reach Mongo, their problems really begin. They run afoul of dastardly Emperor Ming the Merciless, conqueror of his world, who has some ambitious plans for Earth.

The rest of the serial revolves around Flash's desperate attempts to save the earth; the assorted alien cultures he encounters; the allies he makes; space ships he flies; the battles he fights, and the monsters he slays.

Brilliantly conceived by Raymond, "Flash Gordon" features classic archetypes from legendary myths and fables of antiquity. Echos of famous tales, like the sagas of Troy and Camelot and Sherwood Forrest are seen here. You have the dashing, handsome hero, on a quest to save the kingdom (Flash); The evil king (Ming); The old wise man (Zarkov); The lovely damsel in distress (Dale); the seductive siren (Aura); loyal allies (Thun, Barin, Vultan); Plus monsters, dragons and assorted beasties.

Flash is a modern Robin Hood, Jason or Beowulf. Ming is Prince John or Aggamemnon. Dale is Helen of Troy or Gwenevere or Maid Marion. Zarkov is Merlin or Odysseus. (Or Gandalf) Thun/Barin/Vultan are the Merry Men or the Knights of the Round Table.

You get the idea.

You can't help but notice how many ideas from "Flash Gordon" would later reappear in STAR WARS. The cloud City; The ice World; The forest moon; The scrolling opening text (From the second serial); There are others, but you get the gist. The whole sci-fi genre owes a great debt to this timeless classic.

Buster Crabb is the perfect action hero, and I personally think he's better at this sort of role than any of the current crop of action stars. He also played Buck Rogers and Tarzan.

Charles Middleton is the embodiment of diabolical nastiness as Ming. Sure, he seems a bit melodramatic today, but that was what audiences expected from their bad guys in the 30's.

Jean Rogers is our hero's love interest Dale Arden, and I had such a crush on her when I first saw this as a boy. I can readily understand why Flash always rushed to her rescue. She's the quintessential good girl, to counterpoint the seductive manipulations of Aura, the quintessential bad girl.

The supporting cast seemed perfectly chosen to emulated their comic strip counterparts, and despite the now-silly looking FXs, there was a lot of thrilling action in this groundbreaking serial.

An all around fun romp and the beginning of the sci-fi genre in cinema.


i originally seen the flash Gordon serial on PBS,and thought it was fun and awesome,i overlooked the special effects of the rocket ships with sparklers,and the big dragon monster with lobster claws,who cares this is 1936 and it was a serial,so each week they would show a new chapter, buster Crabbe played flash Gordon 3 times,in all 3 serials.then in 1939 he played buck rogers,in 1933 he played Tarzan the fearless.he was a very busy actor.beautiful jean rogers played sexy dale Arden.frank Shannon as professor zarkov,and Charles Middleton played the evil ming the merciless.he makes Darth Vader look like a boyscout.the serials were very close to the Alex Raymond comic strip.space travel was just a pipe dream at the time.not to mention ray guns and television.this one stands out as the best serial ever.the sequel flash Gordon's trip to mars is 2 chapters longer,the next flash Gordon conquers the universe is only 12 chapters.and then there's the natives of mongo..,hawk-men, lion-men,shark-men.the feature version leaves out the shark-men scenes. for the full effect you must see the complete serial.i heard George Lucas was inspired by flash Gordon when he did star wars.flash Gordon was from universal studios.and the music on the soundtrack is from many universal movies like bride of Frankenstein,werewolf of London,Dracula's daughter,etc;even today flash Gordon continues to delight people young and old.10 out of 10.


I loved "Flash Gordon" as a child and watching the series again on DVD brings back such fond memories. Each 15-minute episode features the adventures of our hero Flash, the lovely Dale Arden, and intrepid Dr. Zarkov on the planet Mongo, with Flash escaping death at every turn: The Shark Men nearly drown him, he faces the Fire Monster in the Tunnel of Terror, and he's in mortal peril in the Static Room!

The characters are still fun: Buster Crabbe is every bit the blonde dreamboat hero and Jean Rogers is a delicate and beautiful Dale Arden. Princess Aura still plots to steal Flash for herself, King Vultan of the Hawk Men still has his booming laugh and angel wings, and Ming the Merciless, Emperor of the Universe, is still giving everyone the evil eye and the creeps.

This serial probably wouldn't interest children today with its hokey effects - oh, that spaceship! - but it's a fun bit of nostalgia for those who liked it the first time around. The actors play it straight and don't play down to kids. I appreciate that young viewers were expected to read the chapter synopses which had pretty big words in them.

I'm glad this came out on DVD. It's a lot of fun to revisit this classic sci-fi serial.


I was a child when I saw this serial, a bit after seen Buck Rogers one, both characters performed by the same Buster Crabbe, and I must acknowledge that these films have always been part of the best entertainment I've ever had. The fight against Emperor Ming was one thing but I was more interested to know about the final fate of the love triangle of Flash with Dale and Aura. Barin came and persuaded Aura to forget Flash, very innocent termination of her obsession for good-looking Flash. The serial has no offensive and really violent scenes and can be watched by all audiences. Another thing is that I learned floating in water looking the way Crabbe did it when fighting against shark men. The soundtrack was also nice although it was used previously in another film of Boris Karloff's Frankenstein. It would be nice to have the DVD of this serial provided that it comes with subtitles in Spanish (not yet available).


I don't understand all these bad reviews. I believe this movie was one of the best in the Puppet Master series. Being made on a low budget, one can comprehend why the special effects and acting were not spectacular, but they were not completely horrible.

Greg Sestero brought a lot of charisma to the role of Andre Toulon. He has a lot of potential, and I hope to see more of him soon. And though the cinematography was not excellent, and there was minimal violence and gore, this film was a lot of fun. I am a big Puppet Master fan and have grown to expect blood and gore from the films of this series, but I can say that I was never bored through the entire course of watching Retro Puppet Master. So, if you ever get an opportunity to see this movie, don't automatically regard it as unworthy of your time. Give it a chance. You might like it.


Six-shooter, Tunnel Sergeant, Dr. Death, Pinhead, Cyclops, and Blade help the young Andre Toulon take out Sutek's Egyption henchman in the best sequel this series has seen.

Retro Puppet Master is atmospheric with many sets, quality acting and some fun puppet FX. What it lacks in gore, it makes up for with an interesting well-paced plot.

Best Quote: Dr. Death: "Don't you know, my friends? Smell the sulfur, see the smoke..."

This is easily the best Dave DeCoteau film I've seen. The actors do a more-than-credible job: Jack Donner as "Azfel" turns in an inspired performance, and the young Toulon does well with the puppets. Oh, and the ring-needle is cool.

John Massari's score is a nice symphonic take on the original Puppet Master tunes by Richard Band, keeping the movie playful and eerie. It's rare for a Full Moon score to actually add something to a film, and this one does.

Unfortunately, Dave Allen didn't seem to be affordable enough for Band and Co. in the late-90's and beyond, so all of the puppet action is done rod and string. There's no stop motion such as the famous and funny scene in the original where Pinhead's looking for his pinhead. And, of course, as with all of the Full Moon fare of this time period, RPM was shot in and around Castel Studios in Bucharest, so most of the bit parts were cast to Romanians: hearing their "Parisian" accents was a bit annoying.

All in all, this is probably one of the top-10 Full Moon films. It's certainly the most inventive of the Puppet Master sequels.


First off, I Hate Sci Fi Stuff, And Although This Movie got a little Sci Fi at times, That's Allright, Because At Least It Focused On Andre Toulon. In the last 3, Andre seemed to have kind of been Mentioned, but the Stories Never really focused on him, which made me mad. What also makes me mad is The Amount of 0's it Got on the Voting Chart. Give It a Rest People. If you saw this Movie and Liked it, Please vote for it. Please. What I Loved About this Movie is that It went back to Where it all started. When Andre first learned the Secret to Life. I would Recommend Renting this if you Have seen a Puppet Master Movie before and liked it. But not renting it if this is your First Time viewing one from the PM Collection, Mainly Because you might think all the Puppet Masters are as "Dull" as this one.


This is the kind of movie that you rent when you are incredibly tired, or impaired in some other way... The acting in this movie is so bad it seems intentional, and to let you know how bad the special effects are, there is one scene when the puppets are coming alive where you can see most of a hand holding the puppet, moving it about. The movie looked as if it was filmed with a camcorder. When I saw this movie for the first time, a fistfight nearly erupted when my friends and I were calling each other names from this flick, that's how terrible it was. If you enjoy getting mad at movies, I recommend this to you, otherwise, flee as though your very life depended on it.


It is great to see a new batch of puppets creating havoc in this series. I found this chapter a lot of fun. In fact, it would probably be my second favorite in the series. This movie has very little violence and is only rated PG-13. This is notably different from the other R-rated puppet master movies which were loaded with gore and violent mayhem. The lack of violence does not diminish the fun though. This film also has notably better special effects than the last movie in this series. Good.


This is probably one of my favorites so far, although I have the first one and have seen Curse, Legacy, and vs. Demonic Toys. The only one better than this one is PM vs. DT. Curse is the worst one in the series, Than the first one, and then its Legacy. I recommend people to see this and vs. DT. Those ones who say this stinks are so wrong, the story is well written and it is a sweet movie. This is a classic movie even younger kids can watch and not be as scared when watching the others. Well this is my review, you can call me Gipdac,( its easy to know where that came from: 101 Dalmatians series, you can watch it on Toon Disney at 4:00 A.M.). Oh and don't laugh, I'm a guy, you will see more of my reviews in good time. If you want to know why I watch it? I'm 12! Word of advice: Have a mental meal, arrrrroooooooooo! I also agree with you motter-1, but why people like the others is because they're more thrilling than horror, and because the puppets are made to look scarier. Also, you can call me Gipdac.


And she really was beautiful (Laraine Day, that is) - herself, her part, and her performance. An engaging story of selfish vs. selfless love, for the same man, wealthy heartthrob and dipsomaniac Robert Cummings. One of his bouts of inebriation leads to an incident that enrages the local community and tests the mettle of the two sisters (Jean Muir and Laraine Day) that are close to him (and to each other). Their comfortable and somewhat superficial milieu is up-ended as the two girls confront the ensuing crisis and respond to its conflicting demands of prudence, integrity, loyalty, and love, with consequences that are profoundly different for each of them. With the old vanities and niceties abandoned, their real characters are revealed in enthralling contrast.

A wonderful find on TCM!


Robert Cummings, Laraine Day and Jean Muir star in "And One Was Beautiful," a 1940 film also starring Billie Burke. At one hour and 15 minutes, this looks to have been a B movie. Cummings is a playboy, Ridley Crane, whom many women desire, including two sisters, Katherine and Helen Latimer (Day and Muir). Katherine is the more earthbound of the two who likes to fix cars, and Helen is the blonde social butterfly with the beautiful gowns. Ridley arrives back in town, and, believing he's not going to be at a party, Helen decides not to attend. Since the party is given by a family friend, their mother (Burke) sends Katherine in a pinned up dress. Ridley is there, and the two connect. But Ridley is into more superficiality, and when he sees Helen at a dinner party, the two pick up where they left off and go to a club. He becomes terribly drunk, and Helen at first refuses to ride in his car because he won't let her drive. After walking awhile and breaking the heel of her shoe, she gets into Ridley's car when he drives by. He passes out, and she takes over the wheel, accidentally hitting and killing a bicyclist.

Ridley can't remember anything, so Helen lets him take the blame for the death. The heel of a woman's shoe is found in the car, and Katherine sees her sister bury her shoes - plus, something in Helen's manner makes her realize that Helen isn't telling the truth. Ridley is convicted and goes to prison, and Helen marries a man she doesn't love and leaves for South America.

This is a wonderful film, even though at the time, this wasn't an A-list cast. Cummings is playing a part that Robert Taylor would have played (it's an MGM film) - he's handsome and very amiable, even if he doesn't have the dazzling looks of someone like Taylor. Laraine Day is a favorite actress of mine, someone MGM loaned out constantly because they didn't know what to do with her. Why, I wonder - a wonderful actress with a great face and voice, she livened up many a film. This one is no different. Her Katherine is determined, sympathetic and totally lovely. Jean Muir is a lousy actress.

So who was the beautiful one? We all know even if MGM didn't.

Highly recommended little gem.


Disney's Buena Vista Pictures presents a wonderfully told fact-based sports drama directed by actor Bill Paxton. Photography is superb, but story sometimes lumbers along. This film is about the 20 year old amateur golfer Francis Ouimet(Shia LaBeouf)and his competition in the 1913 U.S. Open. What a story; a once-in-a-lifetime chance for a supposedly incapable young man to play along side the best golfers of the time, including British champions Harry Vardon(Stephen Dillane)and Ted Ray(Stephen Marcus). A storybook ending leaves a knot in the throat. The cast also includes: Peter Firth, Elias Koteas, Marnie McPhail, Robin Wilcox, and possibly stealing the show is Josh Flitter, who plays Eddie Lowery, Ouimet's caddy and best friend.


Both Disney and Bill Paxton did a fine job in conveying a story that is based in fact. You do not have to like the game of golf to appreciate the story of one man's struggle to overcome the odds. It could have been based on any sport or simply on any other situation which involves competition, though this one just happens to be related to Golf. The only problem I have with the story is that I would have liked to see a bit deeper into each of the main characters, esp. Mr. Ouimet. Mr. Francis Ouimet is a typical young man of his times, turn of the century America, where "class lines" are well delineated and woe be it to anyone who deigns to try to rise above his "class" standing. I did a bit of historical research and my biggest question was indeed answered, to my satisfaction. Although the circumstances are a bit different than those portrayed in the film, I came away with a feeling of content. I thoroughly enjoyed this movie, I believe you will too.


This is not a movie that I would typically watch at 2:30 in the morning, but I got into it and couldn't stop until it was over.

Shia LaBeouf demonstrated that he is not just a young actor here, but could handle more demanding roles. The fact that he has been handed those roles in the last two years is testament to his ability.

It was really his movie. Sure, there were others involved, but they pale in comparison to his role.

This was a time when gold was reserved for the privileged. This victory opened it up to the masses, much the way that Tiger Woods has opened golf to all races.

Like Harry Vardon (Stephen Dillane) said to Lord Northcliffe (Peter Firth): " ...if Mr. Ouimet (Shia LaBeouf) wins tomorrow, it's because he's the best, because of who he is. Not who his father was, not how much money he's got, because of who he bloody is! And I'll thank you to remember that." Go get charged up.


Shia LaBeouf has impressed me before with his acting ability, but I can honestly say that I very much look forward to his next efforts...his portrayal of Francis Ouimet, a 20 year old caddy who ignores his father's insistence that golf is not his place in life and enters the 1913 US Open tournament in his hometown...the beginning of the movie does drag a bit, but it's necessary to set up the underdog subplot that Shia works so well...the entire cast is well-chosen and they work very well together in a story that, based on the actual event, has an ending everyone can discover before seeing the movie...but even knowing that information doesn't spoil the fun...Josh Flitter is delightful as Eddie Lowery, Francis' caddy, who keeps him grounded and loose while at the same time proving to be an invaluable part of Francis' effort...Stephen Delane is outstanding as Harry Vardon, the legendary British golfer who Francis idolizes yet does not fear...and who knows the background Francis comes from as he, too, had humble beginnings...Bill Paxton takes a formulaic movie and makes it worthwhile...bravo Mr. Paxton, and bravo to the cast...from the imagery to the story to the people who bring it alive, this is a movie to get, enjoy, and revel in...it's nice to have movies like this that we can feel good watching...


Rainy day with not much to do. We were surfing the movie network channels and found this one just starting, so we gave it a chance.

The more we watched, the more we became engrossed in the story. Its the old story of working class underdog trying to make it in a sport which at the time (1913 I think) was usually played by the wealthy upper class but this movie was every bit as interesting as Seabiscuit and this is also based on a true story.

The acting is believable and the casting is brilliant. AND . . . . we are NOT golfers, so please don't miss this one just because its about golf. Any individual sport would serve the plot, because it's about the people. Golf works well for this story because of the class distinction and snobbery that seem to involve some who play the game.

Bottom line . . . . Its a feel good movie. It's well put together and isn't it always fun to see those who think they are better than others get taken down a peg or two.


If you like your sports movies to be about dignity and the best values then this'll work for you big time. Oversentimental in places? Sure, of course it is - and proud of it. It is the biggest and best ride in the Carnival and should be enjoyed as that.

Big production values, simple telling, with creative shots: it is not complex, is a very nice and remarkably sweet film. It really feels like a labor of love from Bill Paxton; and I bet his son gets that.

The build-up is slow enough to be enjoyed, the conflicts feisty, and the British vs. Americans handled with a degree of vaudevillian villainy, but the dignity between the two main transatlantic protagonists is always to the fore. I have minor gripes: the score wants to be James Horner but is too overblown, and there are too many close-ups, and panning shots for 2005, but if you want a straightforward, decent, and good-looking sports film then this is it.

So here's the thing, and I feel like I know my film, but I actually liked it more than Seabiscuit: which is a better film, but Greatest Story is simply Disney at its core and hugely enjoyable! Thanks, Bill.


When i first saw the movie being advertised i thought it was going to be another Disney movie that almost goes straight to video. I finally got around and rented it. I thought it was going to be bad because i couldn't see Shia in any other role than his recently cancelled show "Even Stevens". When i turned it on i was ready to turn it off from boredom in about ten minutes. It started a bit slow and i couldn't understand the beginning because the years didn't make sense then they explained that later in the show so i was relieved of wondering about that. All and all i thought it was a good movie and i would recommend it. The cast was top notch and even though i'm not a fan of golf it easily kept my attention with a good plot.


When you think of golf movies, you think of Caddyshack, but what if there are kids around? Go right to this movie! Disney uses is proved formula to make a movie that the adults and the kids will enjoy. The acting in this movie, in my opinion, is quite good and the leading cast, for the most part, is very young! This movie is also suprsingly filmed very well and unique, seeing all the angles of the golf game. I think this movie should be up for some academy awards for film editing or something like that because the entire flow of the film is top notch. Though the ending might be a little predictable, the movie does well on its own! It also shows that you do not need swearing, nudity, or violence to make a great golf movie!


this movie has a decent story in my opinion,very good fight scenes but i was a little bit disappointed by the end of the movie.i think that it was a way better if lydie denier knew karate also or if she knew to use some weapons,her character has become more interesting too and she was a decent opponent to cynthia.i think when the director filmed the final 'battle' between cynthia&denier he wanted to finish the movie earlier so he didn't care how the end was going to be.all in all i think that fans of cynthia rothrock will be very satisfied watching this movie.it's not like 'yes,madam'! or sworn to justice but it was entertainment enough and cynthia looks awesome in this movie so my rate for this movie is a solid 8/10


'The Merchant of Venice' is one of Shakespeare's better-known plays and is still regularly performed in the theatre. Incredibly, however, this film would seem to be the first-ever English-language version made for the cinema rather than television. There were a number of versions made in Britain or America during the early days of the cinema, but these were all silents.

The reason for this neglect of the play may be connected with sensitivities about the play's alleged anti-Semitism, a subject which has been even more sensitive since the rise to power of the Nazis in 1933. (This may explain why all previous versions were made during the silent era; in 1908 or 1922 it would have been easier to portray Shylock as a straightforward villain than it would be today). Yet in my view the film is not anti-Semitic at all. It should be remembered that during Shakespeare's lifetime there was no settled Jewish community in England; the Jews had been expelled by Edward I in the late 13th century, and were not permitted to return until the time of Cromwell, some forty years after Shakespeare's death. As far as we know, Shakespeare never travelled abroad, so it seems quite possible that he himself never knew any Jews personally or experienced the effects of anti-Semitism at first hand. The play is not simply about the Jewish question, but is, among other things, an analysis of the corrosive effects of religious prejudice. It may, in fact, be a coded examination of the mutual antipathy between Catholics and Protestants in Tudor England (something of which Shakespeare certainly would have had first-hand experience) and an appeal for greater tolerance between them.

Then as now, traditional anti-Semitic stereotypes had always depicted Jews as avaricious, but Shylock's principal sin is not avarice; if it were, he would certainly have accepted Bassanio's offer to pay him six thousand ducats, twice the amount borrowed by Antonio. Rather, Shylock's besetting sin is anger, and the root of his anger is the way in which he and his fellow-Jews are treated by the Christians of Venice. Not only are Jews in general regarded as second-class citizens, but Jewish moneylenders such as Shylock are particular targets for abuse, even though the services they provide are necessary to the Venetian economy. The play shows the corrupting effects of prejudice. Not only do views of this sort corrupt the Christians who hold them, they can also corrupt the Jews who suffer abuse. Shylock's vindictiveness is out of all proportion to the wrongs he has suffered. By spitting on him and calling him a dog, Antonio behaves like a boorish bigot, but boorishness and bigotry are not generally regarded as crimes deserving of the death penalty. Moreover, Shylock seeks to revenge himself on Antonio not merely for the undoubted wrongs that Antonio has done towards him, but also for all the wrongs, real and imaginary, that he has suffered at the hands of the Christian community, such as his daughter's marriage to Lorenzo.

It is to the credit of the film's director, Michael Radford and of its star, Al Pacino, that they understand all these issues. Pacino's Shylock has, initially, a sort of angry dignity about him that gradually gives way to vindictive rage and finally, after his humiliation in the trial scene by Portia's reasoning, to pathos. We see clearly that he has been the instrument of his own destruction, but we can still sympathise with him. In my view, none of Pacino's performances that I have seen have ever equalled those he gave in the first two 'Godfather' films (not 'Scent of a Woman', for which he won an Oscar, and certainly not 'Godfather III'), but 'The Merchant of Venice is the one that comes closest to those benchmarks. The other acting performance that stood out was Lynn Collins's luminous Portia, speaking her lines with great clarity and simplicity and bringing out the intelligence and resourcefulness that make her character more than simply a romantic heroine. I was less impressed with Jeremy Irons's Antonio, who seemed too passive. Antonio is a complex character; part loyal friend, part melancholy contemplative, part religious bigot and part enterprising capitalist. Although Irons captured the first two of those aspects, it was difficult to envisage his Antonio either spitting on someone of a different faith or hazarding his all on risky trading ventures.

Radford's interpretation of the play was attacked by the film critic of the 'Daily Telegraph' who, although he admired Pacino's performance, disliked the period setting and argued that Shakespeare needs to be placed in a contemporary setting if it is to have 'relevance' for a modern audience, citing a recent stage production which set the action in Weimar Germany. I would disagree profoundly with this approach. The theatre and the cinema are quite different media and, while there have been some striking modernist approaches to Shakespeare in the cinema (Trevor Nunn's 'Twelfth Night' comes to mind), a traditionalist approach is often the best one. (I preferred, for example, Zeffirelli's 'Romeo and Juliet' to Baz Luhrmann's). The idea that we can only appreciate Shakespeare in a modern guise is sheer intellectual laziness; we are not prepared to make the effort to see our greatest writer in the context of the Elizabethan society that produced him, but rather prefer him dressed up as an ersatz twentieth-century man.

Radford's traditional approach not only enables us to appreciate that bigotry and vindictiveness are age-old, universal problems, but also makes for a visually striking film. In the play, the scenes set in Venice itself are characterised by turbulent action; those set in Portia's country house at Belmont are happier and more peaceful. In the film, the Venetian exterior scenes were shot on location against a backdrop of misty, wintry grey skies, similar to the look achieved in 'Don't Look Now'. The candlelit interiors, with faces brightly lit against a dark background, were reminiscent of the chiaroscuro effects of a Caravaggio painting; I suspect this was quite deliberate, as Caravaggio was a contemporary of Shakespeare. By contrast to dark or misty Venice, the Belmont scenes (shot in an enchanting Palladian villa on an island in a lake) were characterised by sunshine or peaceful moonlight.

This is one of the best Shakespeare adaptations of recent years; an intelligent and visually attractive look at a complex play. 8/10.

A couple of errors. We see a black swan on the water in front of Portia's house. These birds are natives of Australia and were not introduced to Europe until well after 1596, the date when the film is set. Also, the portrait of Portia in the leaden casket is painted in the style of the Florentine Botticelli, who was active about a century before that date. Lynn Collins may be reminiscent of a Botticelli beauty, but it seems unlikely that a late 16th century Venetian lady would have had herself painted in the manner of late 15th century Florence.


Michael Radford has done an excellent job bringing this difficult play to the screen. He has taken a play with a reputation for anti-semitism, and shown us that Shakespeare knew quite well the humanity of the Jews. Radford said after the screening, and I agree, that Shylock is his first tragic hero, the first of his characters to be undone by a driving, compulsive need for revenge. He also points out, quite rightly, that a man who was anti-semitic could not have written Shylock's speech of "If you prick me, do i not bleed?" Radford is himself of Jewish descent and he has picked out the good and bad of all characters with delicacy and honesty. no character is free from flaws; no character is evil. Radford has placed the play in the 16th century, which gives a lush background of Venetian politics and decadence on which to project Shakespeare's words.

If you get a chance to hear Radford speak about the film, I highly recommend you take it, since he gives details about life in 16th century Venice that illuminate a lot of the choices he made and give considerable extra depth to the viewing. I'm hoping that the DVD will come out with extensive commentary.

Jeremy Irons does a gorgeous portrayal of Antonio, a man who resigns himself to bearing the burden of his past misdeeds. Lynn Collins, a relative unknown, gives us an absolutely flawless, stunning, and detailed job as Portia. Not only is Ms. Collins beautiful - she also gives Portia layers of intelligence and humor prior to the trial scene i've rarely seen in any production of this play. the rest of the cast also does a terrific job, with a notable performance by Kris Marshall as Gratiano, and a beautifully subtle work by Allan Corduner as Tubal, playing the foil to Shylock. Finally, while Al Pacino pulls out his usual strong (and loud) performance, his best moments are when the camera focuses on him and he says no words, but you can see all the emotions and madnesses flowing into and out of him as he perceives his fortunes changing.

If you like period movies, I cannot recommend this movie enough.


The inherent problem with any staging of 'The Merchant of Venice' has never been the pseudo-controversial anti-Semitism, but the fact that there are two story lines wildly different in both tone and content; a frothy romantic comedy and a searing tragedy. While mixing genres was all the rage in the sixteenth century (and mocked by Shakespeare in Hamlet), it rarely fails to grate with modern audiences. As a result, most directors are forced to place an emphasis on one storyline at the expense of the other, and it is no surprise that the decision falls in the favour of Shylock.

Like so many of Shakespeare's great tragic heroes, Shylock continues to fascinate after 400 years because he is such a difficult and complex character. Pitiful, proud, angry, vengeful, weak, arrogant; his behaviour defies simply analysis and continues to be argued over. He is flawed not because he is a Jew, but because he is human. Rarely do modern screenwriters imbue their creations with such richly textured contradictions, and it is to everyone's benefit that we have Shakespeare to draw on for inspiration.

Shakespearean language is wild and rambling, saturated in multiple meanings, word play and metaphor. To be understood it must be wrangled and tamed by an actor with the strength and knowledge to do so. When an actor fails, the words pour forth in a torrent of incomprehensible words, but when he succeeds, the English language springs to life with an immediacy and vibrancy that takes your breath away. Al Pacino is one such actor, and here displays an incredible level of clarity and control that, were there any justice, would sweep every award in the offering. He meets the challenge of presenting Shylock head on, and delivers an extraordinarily subtle and nuanced performance. It would be a crime if we never got the opportunity to see what he does with King Lear.

The supporting cast is noteworthy. Jeremy Irons gives an original take on the familiar Antonio, presenting an older, quieter figure that displays the unsavoury contradictions between medieval chivalry and ugly prejudice of the time. Joseph Fiennes is a revelation as he matures beyond superficial eye-candy to actually inhabit a character for once. Lynn Collins is the only disappointment. Many of Shakespeare's women are underwritten and require an actor to really work hard to bring them to life, and Collins' Gwyneth Paltrow impersonation seems a little flat and unsuited to the darker tone that Radford is aiming for.

The design team must be acknowledged for creating a unique and thoroughly believable vision of Late Renaissance Venice. The city has not looked this ominous since 'Don't Look Now'. Taking full advantage of extant locations and natural light, the film has an appearance of authenticity that is greatly enhanced by the dark and timeworn costume design. All, again, are worthy of award recognition.

The financial backers of films such as this must be commended. With a budget of $30 million, they must go into such a venture in the full and certain knowledge that they will never make a profit, and yet they invest nonetheless. We can all be grateful for it, as the result is a remarkable adaptation that is sure to be a benchmark for many years to come.


I just saw this at the Toronto International Film Festival in the beautiful Elgin Theatre. I was blown away by the beautiful cinematography, the brilliant adaptation of a very tricky play and last but not least, the bravura performance of Al Pacino, who was born to play this role, which was perfectly balanced by an equally strong performance from Jeremy Irons.

The film deftly explores the themes of love vs loyalty, law vs justice, and passion vs reason. Some might protest that the content is inherently anti-semitic, however they should consider the historical context of the story, and the delicate and nuanced way in which it is told in this adaptation.

9/10


I am always impressed when a director (and this case director/screenwriter) takes a piece of classical text - and makes it come alive. Sure, Shakespeare's text can give you goosebumps even when hammered out with self-importance, but to see a production where true inventiveness makes wonderful words even more so - by the provision of context or nuance not found in the stage directions is simply awe-inspiring. There are many troubling things about the play. It is a racist play about racism - and that still sticks. I have never accepted Jessica's desertion of her father without any acceptable reason. I have never accepted the Christians' position of sanctimonious self-righteousness. But, brilliantly, there is a text prologue which helps us understand the times and politics in which the story is set, and mercifully, much of Jessica's part is cut.

The text is quite stripped down with many passages cut. But, I only noticed one line which was cut at the moment when I expected to hear it - and it was replaced by a look that said it all. This economy and judicious editing has given us a gripping movie - not just a film of the play.

And at last, there is a rationale as to why Antonio is so loyal and generous to the undeserving/unrelated Bassanio - you can almost feel Antonio's pulse start to race when he catches glimpse of Bassanio passing by in a gondola, or arriving for a visit. But it is as subtle as that - no more. I was spellbound.

There were many other highlights. I felt the arguments during the trial to be heartbreaking. And, the suitors' trials are hilarious.

Add all that to glorious cinematography and costumes that resonated with the times, and you'll understand why I can't wait to see it again. And again.


It is a risky business to film such a lavish production of "The Merchant of Venice". It could be a stodgy, wooden, period piece, or it could be laughable for its excesses. This version is neither. While I am not completely sold by Al Pancino's very restrained Shylock, he does give a competent and honorable performance. Jeremy Iron's Antonio, is as always with his tortured-self roles, riveting. Some of the lesser roles seemed to be a little to much in the spirit of boisterous fun, "a boy's own Venician adventure story", but the central plot is efficiently and sympathetically moved forward through the film.

It goes without saying, that the location shots, costumes, and interiors were breathtaking, almost to the point of distraction.

One thing, on which I do not wish to comment on, is the anti-semetic content of the play. The film is as sympathetic to the predicament of the Jews as possible while still portraying Shylock as the instrument of his own self-destruction. It is a sad comment that four centuries later, the director of this film found it necessary to comment on his nuanced view before the premiere screening at the Toronto film fest.

This is a beautiful film, and I look forward to several viewings.


I saw The Merchant of Venice in London last week. Great acting by Al Pacino, Jeremy Irons, Joseph Finnes and Lynn Collins. Compare to other movies based on Shakespeare's play, this production has made the play so easy to understand and follow. Bravo to Michael Radford for directing such top actors. The costume and the scenery are great and since it was filmed on location in Venice it gives the film and authentic flavor. I had read the play over thirty years ago at school and the emphasis was on the characters' anti-Semitic behavior toward the Jews and the cruelty of the Christians. I do not know if this movie is going to be controversial but in any case I am sure that it will get few Oscar nominations.


William Shakespeare's The Merchant of Venice is about a Jewish moneylender and his bond to extract a pound of flesh from the wealthy merchant Antonio, the forfeiter of a debt. The Jewish moneylender, of course, is Shylock and he is given such a towering performance by Al Pacino that even outstanding actors like Jeremy Irons, Joseph Fiennes, and Lynne Collins fade into the background. The film is set in 16th century Venice and director Michael Radford relies on setting, mood, and realism to tell its story, rejecting lavish period costumes or a modern setting with rock music to appeal to a wider audience.

Radford slices the play's three-hour length to a manageable two hours and eight minutes and also provides some historical background. In the opening narration, he tells us how Jews came to England, were subject to increasing persecution, and eventually expelled from England. They were forbidden to own property, could make profits only by lending money at interest, and were forced to live in a Venetian "geto", a forerunner of darker events to come. In the film, the merchant Antonio (Jeremy Irons) spits upon Shylock in public, yet feels no shame in going to the usurer to borrow 3000 ducats to help his friend and suggested lover Bassanio (Joseph Fiennes) to properly court Portia (Lynne Collins), a wealthy heiress. Though Shylock has been insulted by Antonio, he agrees to loan the money without interest for three months on the condition that forfeiture of the bond grants him the right to exact a pound of flesh from Antonio's heart.

The play is primarily a drama of hatred and revenge, but like many of Shakespeare's works there are touches of broad comedy as well. Here the comedy involves three pairs of lovers: Bassanio and Portia, Gratiano, Bassanio's friend, and Nerissa, and Lorenzo, another friend of Bassanio, and Jessica, Shylock's daughter. Portia has offered herself to the person who can pick the right treasure from one of three boxes, made of gold, silver, and lead. The Prince of Morocco chooses the one of gold, the Prince of Aragon the one of silver and both are disappointed. Bassanio, however, loves her for herself and opens the leaden casket to find the portrait within. Radford's adaptation conveys a remarkable feeling for time and place. Portia's residence at Belmont suggests one of those splendid summer homes complete with immaculate gardens and art treasures hanging in every room and contrasts well with the grungy look of Shylock's city with its dank alleyways.

When it becomes clear that Antonio cannot repay the debt, Bassanio returns to Venice, leaving Portia behind. When he arrives, the loan is in default and Shylock is demanding his pound of flesh. Even when Bassanio, backed by Portia's wealth, offers many times the amount in repayment, Shylock is intent on revenge not only for the loss of the money but for a lifetime of outsider status. The duke, who sits in judgment, will not intervene as Portia enters in the guise as a lawyer to defend Antonio. It is here that the film reaches its dramatic heights as all parties come to court to achieve a final resolution.

The Merchant of Venice is not only about an unpaid debt but also about the estrangement of Jews from Christian society and their desire for belonging. It has been one of Shakespeare's most controversial plays and analysts have debated for a long time whether it is an anti-Semitic play or simply a play about anti-Semitism that reflects the prevalent view of Christian society in Elizabethan England. Although Shylock is definitely a caricature, he is an ambiguous figure and there are many indications that Shakespeare views his flaws as human failings, not Jewish ones. The Duke recognizes that he is simply a man who has failed to adhere to the compassionate language of the Torah.

In the monologue, "I am a Jew. Hath not a Jew eyes? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?", Shylock shows a universal humanity, expressing the equality of all men. Though we are horrified at the sentence he wishes to carry out, we can feel his pain accumulated over the years. Pacino's performance brings new vigor to the text and his often over-the-top persona is replaced with a gentler, more understated demeanor that brings understanding to his cause.. During a Toronto International Film Festival interview last September, Radford said about Pacino, "when you work with a brilliant actor, you have a great machine. It's a bit like driving a powerful car. You have to dare to do it." He has dared and we are all the beneficiaries.


Seriously, where is Al Pacino's Oscar nomination for this one? Is it that we take him for granted at this point in his career? Pacino here is extraordinary.. He gives a complex, heartbreaking performance as Shylock, the Jewish money lender.. the movie as a whole was quite great, with beautiful shots of Venice to look at and a pitch perfect score to listen to.. the other actors all do a fine job as well, but the real reason to see this is Pacino.. I have seen all the nominated Oscar performances of 2004, and I must say that Pacino was snubbed.. blame it on the anti-semitism associated with the play, the lack of campaigning by the studio, the late release date with no major push, or most likely, all of the above.. in my mind, the best performances of the year belong to Jamie Foxx in Ray, Don Cheadle in Hotel Rwanda, and Al Pacino in The Merchant of Venice..


Michael Radford, the director of "The Merchant of Venice" makes a tremendous job in opening the play, as he makes it more accessible for everyone to have a great time at the movies watching this thorny account of a horrible time in history. The luscious production of the Shakespeare's play is a feast for the eyes with its rich detail of the Venice of the XVI century.

This is a story of revenge, prejudice and justice, as imagined by William Shakespeare. Having seen the play a few times, we were not prepared about what to expect. Mr. Radford takes care of presenting the story with such detail so it can be easily understood by everyone. Also, he has used a version of English that makes more sense, rather than relying on the original text. In fact, the way Shylock speaks in the film, doesn't shock at all, being he, a member of a minority that has been marginalized by the Venetian authorities and the Catholic Church.

Al Pacino tremendous portrayal of Shylock shows a man that is vulnerable, arrogant, revengeful, mean, and totally human, all at the same time. Mr. Pacino sheds light into the character of the man who is defeated in court by a technicality. His own daughter has left him and his whole world seems to be caving in on him. At the end of the film, we see a man that has been reduced to being the target of hatred and ridicule by everyone.

Lynn Collins, as Portia is a happy discovery. Having seen her in lighter fare, she not only surprises, but she makes the best of her role and her time in front of the camera. She shows us she is a woman with a high intelligence, who comes to the help of her husband and his best friend, who risked his own well being in trying to help Bassanio get Portia's hand.

Jeremy Irons plays Antonio, the man who seeks Shylock for a "bridge loan". After all, he knows his ships will be returning with fortunes from abroad soon. Antonio gets much more than he bargained for in agreeing with Shylock to the terms of the loan. Antonio's best laid plans go astray when he is suddenly unable to fulfill his obligations. Mr. Irons gives a subtle performance.

Joseph Fiennes, makes a good appearance as Bassanio. His good looks and his charm make an impression on Portia, who clearly sees a soul mate in this young Venetian as she knows he is the one for her. Also, in smaller roles, Kris Marshall, Zuleika Robinson, Charlie Cox, contribute to make the film an enjoyable experience.

Ultimately, it's Mr. Radford's triumph because of the vision he gives us of Venice and its citizens during a horrible time in the history of mankind.