In 2001, Dr. Richard Estes and Dr. Neil Alan Weiner estimated that there are one million child prostitutes in the world and the average age of entry into prostitution is between 11 and 13. This disturbing subject has been largely ignored by the movies, with the exception of Lilya-4-Ever and Paul Williams' London to Brighton. Containing stellar performances by Lorraine Stanley as Kelly, a street-smart prostitute, and Georgia Groome as Joanne, an 11-year-old runaway, London to Brighton is a low budget but gritty, uncompromising thriller that dramatizes the lives of two young prostitutes, the predators who prey on them, and the criminal underworld of British society.

Though it is sometimes hard to watch because of the graphic violence, the film conveys a sense of humanity that shines through the despair. As London to Brighton begins, two hysterical young girls hide in a public toilet in London's Victoria Station in the middle of the night The younger girl, possibly only 11 or 12, her face smeared with lipstick and bruises, cries copious tears while the older, chubbier girl tries to comfort her though her own face is a mass of welts and black and blue marks. Both girls are hiding from their pimp Derek (Johnny Harris) and his client Stuart Allen (Sam Spruell) after a botched job in which the client's father, Duncan Allen (Alexander Morton) died in the client's apartment.

It began when Kelly, on orders from Derek, went scouting for an underage girl to match the needs of his wealthy client. Now on the run, Kelly leaves Joanne in the rest room while she does some "work" to obtain money to visit a safe house in Brighton. The film unfolds in a non-linear fashion and we gradually learn the sordid details in flashbacks. As the girls head to Brighton to take cover, Derek and his cohort Chum (Nathan Constance), forced to take action against the girls before they have to pay the price themselves, are determined to track them down.

Recently released on a subtitled DVD that includes a commentary by the director and others, an alternate ending, and eight deleted scenes, London to Brighton packs a wallop. Energy and tension adorn the film from start to finish, a span of only 85 minutes. Though some of the scenes indicate a sense of lost hope, in the courage and loving protectiveness of Kelly and the childlike innocence of Joanne, there is also a sense of possibility. Winner of the Best New Director Award at the Edinburgh Film Festival with a style reminiscent of the raw immediacy of Shane Meadows and the social awareness of Ken Loach, Paul Williams in London to Brighton has delivered an outstanding first feature.


'London to Brighton' is a modern film, but has a peculiarly eighties feel to it. In the heyday of Thatcherism, an endless stream of radical film makers wanted to document the plight of the underclass. While Britain has become more affluent in the subsequent years, this does not mean that all social problems have disappeared; but except for films about the plight of immigrants, this sort of movie appears to have vanished as a genre. Perhaps this is one signal of Thatcherism triumph: that (usually middle class) film-makers are no longer interested in the plight of the poor. 'London to Brighton' is not just (or even mainly) a work of social compassion: it's a violent gangster thriller, but it takes place in a Britain best described as squalid. And one is struck at how unfashionable it seems to be to paint the country in such a light; and how commonplace it once was. Aside from these observations, the film is well acted, beautifully shot and and genuinely harrowing. But it takes place in a landscape almost devoid of hope. We don't know what made the characters into the people they are - and I found myself increasingly detached at the end, because of the clear impossibility of a happy ending. Indeed, I didn't know really what I was supposed to make of the fact that the eventual conclusion was not the worst imaginable. It's a short film, but although the initial premise is gripping, it eventually suffers from the absence of wider context - "girl goes home" is a less powerful ending to a story if we have no idea of why she went away. That's not to say it's bad, in many ways it feels more real than Neal Jordan's authentic eighties gangster and prostitutes movie 'Mona Lisa', to which it makes an interesting companion piece. But Jordan's movie had a more involving plot.


Its fair to say that in cinematic terms, British cinema will sadly always lack behind Hollywood, they have more money and more exposure and if you went out onto the street and asked people about this movie, the majority would not know what you meant. but in terms of quality, i will state categorically this is easily as good as ANYTHING Hollywood has produced. made on a shoestring, we dive headfirst into the seedy sleazy underworld of London life, the pimps, hookers and general lowlifes that crawl through the gutters of this world... we meet a downtrodden prostitute and an 11 year old girl (a fabulous performance by Georgia Broome) on the run, which is not obviously clear why at first. I've personally never seen a film that is so raw, down at heel and realistic, almost like the cameraman followed these people around and simply filmed the horrors they go through... no cheese, no pretensions simply raw and unflinching in its portrayal. i have no other choice to give this bleak, dark sad and enthralling movie 10/10... hoping its stock will rise in years to come. definitely not for kids, and anybody else easily offended, but marvellous entertainment.


A tough nugget of a film, grimy, gruesome but (amazingly) satisfying. London to Brighton is a faintly ironic title, recalling vintage cars rallies, bike races or simply a day out by the sea. The journey of Kelly and Joanne, conversely, is a desperate flight.

The film isn't actually about the journey but bookended by it (if one were to be picky there is a lot of continuity issue here - two clearly different trains on the outward journey, train carriages that are almost a decade out of date - it's not the point). It's a film about the tart- who-discovers-her-heart, Kelly, played excellently by Lorraine Stanley, much of the time beneath a prosthetic shiner. Georgia Groome's Joanne is also impressive; Johnny Harris' loser pimp Derek is another super characterisation, a convincingly exponent of the emotional handbrake turn.

The film's story is told briskly in a neatly orchestrated series of flashbacks. There's next to no extraneous incident, which means that Williams has to get the tone pretty right first time. With the possible exception of the mid close-ups of Stuart, the vengeful mobster driving the drama, which I didn't feel had quite the care they might have had, that comes to pass. 7/10


There were some in the audience who couldn't believe that a film like Amos Gitai's Promised Land could be made, given its almost documentary like feel to an aged old problem of human trafficking for prostitution. I suppose those who feel that way would probably not take to London to Brighton, which like films such as Lilya-4-eva take an angle of child prostitution, and spun a different narrative out of it.

Here, it's actually out of desperation - in fact almost all the characters here reek of it, in exploiting children on the streets and enticing them with significant sums of money in order to satisfy the whims of some rich clients. The film takes on a non-linear narrative in having its tale told, which leaves you pretty much engaged in wanting to find out just why two women are on the flight as per its title, leaving behind the city of London in double quick time, where we are introduced at 3:07am to Joanne (Georgia Groome) in thick makeup, being hidden in a stank toilet cubicle by an older lady of the streets, Kelly (Lorraine Stanley), suffering from one badly bruised eye.

I suppose a modest production budget made this film look like a typical gritty English crime thriller, with the hand held camera bringing the audience into the thick of the action, either slowly drawing some sympathies from the lead female characters because of the lack of options made available to them, including being on the run, or presenting a sense of clear and present danger up close, especially when pimps Derek (Johnny Harris) and Chum (Nathan Constance) become inevitably close in catching up with the duo for an event they committed, kept closely under wraps.

The relationship between Kelly and Joanne remain one of the highlights of the film, two women who have nobody else to turn to, trying to determine what their next course of action might be at every turn. We see how Kelly takes it upon herself as the surrogate guardian of Joanne, but I suppose only because of the immense guilt that she brought to the table, for having again out of desperation, introduce a young girl into her dark underworld. Those who have watched Angus, Thongs and Perfect Snogging would see how Georgia Groome makes an about turn from privileged child, to one roaming the streets.

The other highlight which I had enjoyed was how thugs have the capability of systematically breaking down one's defenses, in balancing threats and carrots so as to gain some level of trust and obedience. Johnny Harris plays his role well as the pimp who constantly looks out for himself, of bowing to authority and pressure, while Nathan Constance as his chum actually had a lot more characterization going on for him instead. A pity though that it wasn't explored further, and had to be ended as it did in the film.

London to Brighton has a sense of danger permeating throughout, in a sort of hunter versus prey kind of film, that will leave you on the edge of your seat as it builds up to its last act, in a story succinctly told in under 80 minutes.


BOYS ARE EASY (1993) is a very funny movie about a Father (Richard Ng) that is worried that his three daughters are never going to get married. So he decides to cook up a scheme to get them engaged. Faking a terminal illness and playing it up to the hilt, the three daughters (Brigette Lin, Maggie Cheung, and Chingmy Yau) dig up three men (Leung Kar-Fai, Jacky Cheung and Ekin Cheng) to pose as there fiancées. The results are bizarre and hilarious. It has many memorable scenes and crazy dialog. In the vein of the screwball/romance comedies that used to come out of Hollywood in the thirties.

One seen to watch for is the Triad Games (I kid you not). Filled with cameos from Wong Jing's Workshop and his usual slapstick farce. If you enjoy Wacky comedies then this movie is for you. The finale is just as silly as the rest of the film. Only if Hollywood could make films as half as entertaining as this one. Wong Jing once again proves that a "chick flick" could be funny for both sexes. **** out of ****. Check it out!!


this is what made hk films memorable in the early 90's. I love this film when i first saw it, and once i watched it again it got even better. Pure slapstick comedy is included, and great acting by the actors/actresses. Stuff like the 'wink' that tony lau kar fai gave followed with a mesmerizing wing going pass bridgette lin, you dont see that stuff anymore.


This is a comedy about a widower who wants his three daughters to be married. Bridgette Lin is a hard as nails police detective, Maggie Cheung is a social worker and Chingmy Yau is a doctor. They almost bribe men to pass themselves off as their boyfriends, to make their father happy. You see a lot of comic slapstick, especially from Bridgette, who kicks major butt. The guys in the film are fun to watch also. A film like this rests on the stars, and Bridgette, Maggie and Chingmy make things work. As an added and very welcome bonus, the really great comedic actress Sandra Ng plays the gold digging pen pal of the father, who comes to Hong Kong and wants everything. Not to be taken too seriously, its just a lot of fun. I think you'll enjoy it.


This is a great action comedy with that wonderful rare combination of film categories Hong Kong films were so famous for during the early 1990s. Spectacular action combines with outrageous comedy and romance in this spoof of almost everything. This makes similar US romantic situation comedy films look very slow and boring by comparison. Maggie Cheung, Chingmy Yau, and Brigitte Lin are all fabulous, as is Ekin Cheng, Tony Leung Kar Fai and Jackie Cheung. Three sisters decide to get some temporary boyfriends when they think they have discovered their widower dad has terminal cancer with only a month to live. Brigitte Lin is a masculine, abusive, violent cop, who picks a high paid gigolo because she can control, beat, and threaten him to behave. Maggie Cheung is a naive, sweet optimist who accidentally picks a real lowlife very crude low-level sociopath gangster. She thinks he is great, and overlooks all his defects. Chingmy is the younger sexy sister who thinks she is picking a virgin. All three situations are insanely funny and combine for even more insanity when they all get together in the house to meet their dad. The Triad Olympics scene is especially funny- possibly a spoof of special Olympics. Throw your taste out the window, and prepare to witness things you have never seen before when watching this truly outrageous action-comedy directed by Wong Jing. Look for the uncut version on laserdisc if you can- for even more outrageousness.


This film is not intended to be derogatory towards Buddhists, but does indeed enact the historical beginnings of Buddhism. King Ashoka was a vicious warrior before he was shown the 8-fold path but his conversion did not occur until much blood was spilled in his land. It is unfortunate that other viewers have a skewed version of the conception of Buddhism and take this film to be negative. Nevertheless, I was impressed at the historical accuracy, the strength of the acting, and the vividness in the vision of the director. He chooses very unique positions to shoot the scenes and uses stop-time in very emotionally effective manners. I recommend this film not only for the story but for the visual elements and as an example of an Indian film that offers more than just song and dance.


While this engaging film wonderfully depicts the evolution of a young man into the ferocious killing machine emperor called ChandAshoka (Wild Ashoka) it pays little attention to the much more vital legacy as DharmAshoka (Faithful Ashoka). Cutting two songs, and adding another 10 minutes of exposition to show his evolution into the enlightened and compassionate meesenger of Buddhism would have made the film much more complete, and raised it to the level of highest achievement. Ashoka made Kalinga into a centre of Buddhism that endured more than a millennium, until the Shaivaite and Vaishnavite Hindu Renaissance of the 12th and 13th centuries. His legacy as a prophet of multiculturalism, peace and tolerance was insufficiently explored. It might have helped to have had an English translation of the beautiful and profound rock edicts that were shown only as a visual element in the opening and closing credits. It is a shame that Ashoka's Greek ancestry is not even acknowledged in the film. His grandfather Chandragupta, who is seen as convert to the ultra-pacifist Jain faith in the opening scenes, married the daughter of rht edfeated Greek general Seleucus Nicator, who led Alexander the Great's forces to defeat in the Punjab. Ashoka was born of one of Bindusara's Indian wives, which makes Ashoka at least one quarter Greek -- he was the very fusion of the Greco-Indian classical tradition, snd it was he who caused to be erected the collossal Buddhas at Bamiyan, destroyed earlier this year by the Taliban government in Afghanistan. Despite these minor failings it is a superb film, and even today you can wander the sand dunes of the River Daya (Compassion) in southeastern Orissa (formerly Kalinga) and experience the fullimagining of the Ashokan battlefield. Best regards Satya


Asoka is a movie by acclaimed cinematographer and director Santosh Sivan, and it is clearly evident from his latest venture that he is about to change the celluloid world forever. The movie is an epic and the first example of International Indian cinema on a wide scale, bigger canvas and projected through the eye of a master filmmaker.

The film begins with the young Prince Asoka (Shah Rukh Khan) as a boy who watches his father accept Jainism, a peaceful religion that encourages him to toss aside his sword, which has caused much bloodshed. The young boy is intrigued by the weapon and picks up the new toy, masters it and soon learns that with the power of yielding this sword comes a great price. A warrior is born who fights many battles yet it is quickly established that this young man is very much fighting human wars, quenching a thirst for power and balancing this with his love for his family, particularly his mother. His mother renounces her son's violent ways and requests him to undergo the greatest education any person can: a journey.

On his journey as an ordinary traveller, the prince encounters friends and learns to eat peasant food with his trusty horse Pawan, who mirroring an opposite reflection to Asoka's seemingly black heart, is pure white with eyes that steal the heart of anyone who gazes into them. While exploring through a forest he meets the Princess Kaurwaki (Kareena Kapoor), whose eyes mesmerise one moment and warn off invaders in a blink. She is the embodiment of beauty and the prince introduces himself as Pawan to her, only to find there is a price on her head and she, accompanied by General Bheema (Rahul Dev) and young Prince Arya (Suraj Balaji), are on their own journey to make it alive to Kalinga where their destiny awaits them.

The journey of Asoka continues with trials and love, jealousy and betrayal, all making up cornerstones of what Prince Asoka experiences along the way. He falls flawlessly in love with Kaurwaki, and she becomes his soul and purpose of living, but destiny strikes a blow only to begin a mission born in rage and spread by blood. To reveal the rest of the movie would be taking too much from the audiences' viewing pleasure but the journey for Asoka is far from over.

A story of a traveller's travels, his education that is the journey, the loves and losses and wars and redemption all encompass this 173 minute epic that grips the viewer from the moment the camera pans down onto Asoka, as if indicating it is descending onto a mountain full of riches within, up until the deeply disturbing ending, which leaves the viewer with a ray of hope before the credits flash to announce not the end of the story but the beginning.

Santosh Sivan's camerawork and direction are par excellence, as his unique flash-technique and use of many shots to accentuate a minor detail in a scene all add together to create a cleverly woven story immortalised on film. In some sequences the camera cuts like a sword with flashes of residue left lingering both on screen and in the viewer's mind, yet in others following, he uses less shots and still manages to maintain rhythm. A film such as Asoka cannot be appreciated on a single viewing alone as upon initial contact one is simply bombarded with an onslaught of visual delights, spellbinding sounds and a story that emerges from our past but still reaches into the depths of every man's soul.

Performance wise Shah Rukh Khan is the life of the movie. His acting prowess is detailed to the fullest in emotional gut-wrenching scenes, that portray innocence, rage, peace and longing all through his demeanour and eye-language. Asoka's arrogance and clarity of his every action, coupled with the consistent river of flowing energy is evident through the actor's performance which to his credit leaves one finding the line which ends with the character and turns into actor. Asoka could not only be Shah Rukh's greatest screen incarnation, but also a clear message to international cinema of his screen presence, dedication and mastery of his art.

Kareena Kapoor, as the warrior princess who acts as sister and mother figure to Arya, a cautious then enduring lover to Asoka and emerges as someone on her own personal journey, in search of her identity and sense of belonging while juggling her duties, heart and mind in a three ring circus, Kareena gives what is by far her finest performance to date. After her innocent and natural debut in Refugee, she is finally allowed to once more realise her potential and play a character that only she could do justice to. Her look sans make up, except a few lines accentuating her eyes as the window to her soul, is as pure as the princess herself and the image of her going to get milk, fully wrapped except for her eyes is of sheer cinematic delight. Kareena has mastered the art of acting with her whole body in a short span of time and her performance in Asoka proves this. One hopes her potential is continually unlocked and her future holds many more performances and films of this calibre.

It is ironical that a film inspired by history is destined to make history itself by being the first Indian masterpiece to be shown at so many festivals, in so many countries and shown nationwide breaking into mainstream British cinema. It is certainly one of Indian cinema's finest offerings and deserves the attention it is bound to receive, missing out on this homage to true cinematic form would be like missing history. Go see it.

Fuad Omar.


It's really hard for me to evaluate Indian films. Although they appeal to me, I live in a world totally alien to theirs. What I see as a film being interrupted by unnecessary music videos, they might see as the marriage of two vibrant, vital aspects of their culture.

That said, Asoka is a film that I enjoyed very much. The story is epic, complex, and deeply layered, and it almost had me crying in the end (VERY few films can do this). The cast is fantastic, and they did an excellent job. The costumes and the sets were equally great. It's runtime is at 2 hours 45 minutes, but I was left hoping it was going to go a little bit longer. I wanted to know what happened to Davi, and I wanted to learn a few things from Asoka's latter days --when he embarked on his journey towards peace.

This film is great, and I'm looking forward to seeing it again.


I have to say, that after thinking about it for awhile, I really enjoyed this movie. Its growing on me, even now.. It was visually stunning... really beautiful to look at. Of course, most Hindi films are really vivid, but this was exceptional, I think. Really well done by Santosh Sivan.

If you are not a veteran of Hindi films, then you may not fully appreciate this movie... You kinda have to be used to the subtitles, used to the music/dance sequences, and the basic formula that all Hindi films follow, in regards to romance. I mean, the story doesnt focus on Asoka's romantic life, but it does play an important role... Once you get past the first 15 minutes or so, the story really takes off. The story basically is how Prince Asoka rose to power to become King Asoka, and can happen when one is overcome with blind vengeance, despair and hatred...

Shahrukh Khan (Asoka) has got to be by far, the best male Indian actor Ive seen, besides maybe Om Puri. He has great chemistry with Kareena Kapoor and overall, the movie is well-acted.

Asoka is more reminiscent of Braveheart (excellent film), not Gladiator (terrible garbage), which the liner notes suggest. If there is a weak point, it might be the editing...alot of times, after a cut, I felt like there was too big a jump and a scene missing....

Overall an A. I recommend it, especially if you are interested in Indian culture...its based on real events around 3rd century BC.


In India, about 260 BC in the Empire of Magadha, the Prince Asoka (Shah Rukh Khan) survives to many betrayals of his brothers, leaded by the evil Susima (Ajit Kumar), who wants to kill him to inherit the throne. Asoka's mother orders him to leave Magadha to save his life, and while traveling, he meets Princess Kaurwaki (Karriena Kapoor) and her brother, Prince Aryan (Sooraj Balaji) from Kalinga, who are undercover and protected by General Bheema (Rahul Dev). Asoka and Kaurwaki falls in love for each other, but the mother of Asoka calls him back to Magadha. When he returns to Kaurwaki, he does not find her, since she was attacked by traitors of Kalinga and was hidden in the house of a loyal vassal. When Asoka's mother is killed by a man of Susima, Asoka becomes mad, kills all his evil brothers but Sugatra, who escapes to Kalinga. Asoka decides to conquer Kalinga, but in the end, he concludes that he has not built an empire, but conquered only corpses and destroyed everything, and he decides to spread love and the Buddhism with his son and his daughter.

"Asoka" is a spectacular epic from Bolywood. In Brazil, there are very few Indian movies released on DVD, but all of them are excellent. "Asoka" is one of the best, with a beautiful romance, very dramatic situations and great actions scenes, and a touching conclusion. The actress Karriena Kapoor is extremely beautiful and sexy, and has a great chemistry with Shah Rukh Khan. The boy Sooraj Balaji has a great performance in the role of a prince. Unfortunately the lyrics of the songs have not been translated in the Brazilian DVD. From other Bolywood movies, I am sure that the songs are very important, since they always tell something about the feelings of the characters in that moment. By the way, the music score is excellent. My vote is ten.

Title (Brazil): "Asoka"


This movie is underrated and deserves more then the 6.8 from the users' rating here in IMDb. Shahrukh Khan is totally hot and perfect as Asoka, but I don't understand why so many people are saying bad things about the actress Kareena Kapoor, that in my opinion, was also nice in the role of Kaurwaki. Well, Whatever:

''Asoka'' is a very beautiful film, with a great cinematography, scenarios and clothes. It is also a great epic from the Indian movies that deserves to be watched by people of all ages, and even not being 100% faithful about the real Asoka's life, it is a great adaptation of it. The only two things I need to complain are :

+ The songs, that are not a masterpiece like in ''Lagaan'' and also doesn't have anything to do with the story of the movie. In most of the Indian movies , the songs always have lyrics about what is happening to the characters. In ''Asoka'' they don't.

+ The end of the film. After the tension if Kaurwaki and Asoka are going to be together or not, the end should show at least a little bit about their lives as a noble couple. Another thing I missed, was to see the good things Asoka did for his people, like spreading the Buddhism and doing great constructions and monuments. It would help the end to be better, specially after seeing such a massive destruction and annihilation.

Finally, many things of ''Asoka'' remembers me another great epic movie called ''Atilla'', that is directed by Dick Lowry: the way Asoka stays angry and starts to be a monster ,killing everybody after the supposed death of Kaurwaki, is very similar of Atilla 's behavior when his wife N'Kara dies.

And Kauwarki being undercover and protected by General Bheema, remembers me a classic from Akira Kurosawa,''Kakushi-toride no san-akunin''', more well known as ''The Hidden fortress'', where the general Rokurota Makabe takes care of princess yuki in an identical situation of Kauwarki.

Prince Asoka,after leaving his kingdom by his mother's wishes (since he is being hunted by his own brothers), falls in love with the beautiful princess Kaurwaki. Kaurwaki doesn't know he is a prince, but eventually falls in love with him too, spite of the efforts of the general to let her safe from everybody, since she and her brother are being hunted by the Kallinga traitors.

But when Asoka returns his kingdom to talk with his mother, he doesn't find Kaurwaki , thinking that she was killed by the Kallinga traitors, he falls into despair and becomes a brutal emperor.


Like AKS and LAGAAN this year, ASOKA is brilliant technically. The cinematography. The art direction and period costumes. The audio and visual effects are up to par with Hollywood flicks. The use of background score and lighting. Overall production is very crisp.

Along with those other films, I think 2001 has been a watershed year in terms of Indian cinema advancement...kind of like 1999 was for Hollywood movies (THE MATRIX, JOHN MALKOVICH, SIXTH SENSE). Especially, when you put it into perspective of some of the really BAD and embarrasing films of the 80's that you wouldn't have dared show your non-Indian friends. Throw in films like GADAR and DIL CHATHA HAI...that were very good movies in different ways, and you have to start respecting the Bollywood Film Industry.

 Definitely worth seeing on the big screen. Would've been REALLY cool if we could've seen it in IMAX format in NYC.

 Storywise, this is the really the first big budget Indian Epic that I can remember...very strongly influenced by GLADIATOR. Based in another period (3rd Century BC), An heir to the throne is threatened by the presence of a more capable, beloved, and decorated military commander who he tries to get rid of by all means necessary -- eventually getting him exiled (of sorts) where he becomes a commoner. It had the aspects of a historical epic that you'd expect -- love, betrayal, war.

 The storyline got lost at times during some non-essential, tangential, and unnecessarily stretched out segments and some aspects regarding the rivalry between Asoka and his older brother Susima is underdeveloped. The movie could have been much more effective if shortened (like GADAR and LAGAAN) without losing anything. In fact, doing so would probably make it much more appealing to a Western audience. But Shah Rukh pulled off the role of Asoka very well, weakening my argument that he's a one-dimensional actor. I didn't think Kareena was the best choice Kaulwaki....although I can't really think of many of today's actresses that would have done a good job (I think Sridevi in her prime would have been awesome). And who was this new actress that played Shah Rukh's Buddhist wife, Devi? Whoa. My cousin hit it dead on when she said that she (I just looked it up on the internet, her name is Hrishitaa Bhatt) looked like an Indian Alyssa Milano (who I was totally in love with when I was 12 years old during the 80's TV show Who's the Boss?). Okay, otherwise, she wasn't very compelling as an actress...but "she looked good!"

 Overall, I really thought highly of this movie for it's technical and artistic content and I would recommend either watching it on the big screen or on DVD to really appreciate the best aspects. To watch it on one of those really grainy fourthhand pirated videotapes would be a waste...


I think some of the commenters misunderstand a few points

1) It's not only about love and war, but rivals within the family. He didn't kill his brother because he was so vicious but because of how he was treated. No one even talks about the pain that Asoka had to go through. And I haven't seen Braveheart or Gladiator but American films don't often show that.

2) As it coping it's ideas, what bullshit. Americans copied from Japanese ideas and they copied from us. And I think that they're on the verge of making it bigger here, just like Japanese movies and that they will eventually have their own way of directing. You give too little credit when you have no right to judge so hard.

3) In the beginning of the movie they tell you that there is fiction in it so your expected that it's not exactly how it went but made to be more interesting for the viewers. Now how often does that happen? (Rhetorical) unless in the version you watched they didn't say that. But if they did you should have acknowledged that it wasn't all about the truth but about the movie.


This was the first bollywood movie i ever saw, and it's still one of the tops on my list. If you are rating the film based on its historical accuracy, its a complete flop. and, honestly, i was a little disappointed in the ending...or lack of....but either way i love the music, cinematography, and everything else. Shahrukh Khan and Kareena Kapoor have great chemistry together...Kareena is really a great actress when she isn't playing a dumb ditz (such as in K3G....). And Rahul Dev is pretty good too.

If this movie weren't "based on the life of Asoka", I think it would have been a lot better. But It it is still totally worth watching.


Asoka is tender story of a great emperor. what i love about it is beautiful, mystifying music. combination of good looking and professional actors is a good advantage of the movie. this movie is not like the rest of the hindi movies. usually, hindi movies target India and neighboring countries and gulf (arab) countries as well. since this one is VERY well done, I think this time the audience will include Europe (it was a great success in England) and USA (Shahrukh Khan himself came to NY). Shahrukh Khan was voted as the sexiest man in Asia and his partner is considered as the sexiest babe in India, a grandaughter of a dynasty of actors in India. if u like professionally made quality movies, if u like some chemistry, romance, love combined with action in battlefield, excellent music and hot actors in a meaningful movie, ASOKA is definitely yours. u gotta watch it for sure then. trust on my word.


2001, in spite of everything, might be remembered as the year Bollywood met Hollywood in the flesh. Years from now, film historians, critics, and fans will remember this film as a landmark, an unparalleled achievement. This incredible film really needs to be seen on the big screen to be appreciated fully.

Santosh Sivan, the gifted cinematographer best known in the USA for the art-house hit "The Terrorist," and in India for his work with director Mani Ratnam, switches gears completely. While "The Terrorist" was a tiny, contemplative drama, "Asoka" is bigger than big, a total opposite. In fact, I read that the war sequence was the largest of its kind ever filmed in the history of Indian cinema.

Asoka, a little-known figure in the West, was a bloodthirsty maniac who became a bastion for peace and tolerance through Buddhism in the 3rd century, ce. The film is a journey, a character study, of Asoka's progression to the time when he first embraced the Buddha. Some have complained that there is nothing in the film about his conversion to Buddhism, but that is really not the film's point. The events that led up to this transformation are what the film is really about.

Particular attention needs to be made to the cinematography and editing--it is nothing short of extraordinary. Done with an uncanny sensitivity, Sivan brings third century India to breathing, bustling life in a way that, perhaps, no one else could deliver with such vitality and beauty. However, portions of the editing are a little too MTV for my taste, with white flashes and jump-cuts interrupting establishing shots. It functions well, though, during the fight scenes. It is a strange dichotomy between art and commercial cinema. You'll never see swordplay in the same way again.

Pay attention to the acting, too--it is excellent. Kareena Kapoor proves that she's a much finer actress than her older sister, Karisma, and Shahrukh Khan, currently India's biggest star, gives the performance of his life. Both show incredible nuances. Also, Suraj Balaje, who plays the young prince Arya, shows a surprising maturity, and even comedian Johnny Lever, in a cameo role as a soldier, is excellent. If you are not familiar with commercial Indian cinema, the acting may seem like it is a bit over the top, but here, the entire cast, especially the leads, shows tremendous restraint. Know, however, that the over-the-top acting style, a staple of commercial Indian cinema, has a direct connection to traditions that are hundreds and hundreds years old, in the classical styles of the Sanskrit and Parsee theater.

The inevitable comparisons between "Crouching Tiger, Hidden Dragon" and "Asoka" are warranted. This is the first commercial Indian film to receive nationwide distribution in the US, in this case through the independent First Look Pictures, and it is poised to bring an otherwise unknown film-making tradition in the American mainstream to a wide US audience. Both films are sumptuous recreations of history, although this film is based on an actual historical figure and CTHD is based on a novel. Both films have amazing fight choreography, "Asoka's" done without the aid of computers. Personally, I am biased towards commercial Indian cinema because it holds much more of a mystique. Sadly, because of the image that commercial Indian cinema holds in the USA, it may never see the wide audience that this film so deserves.

Whereas the Hong Kong action picture has heavy doses of martial arts, the commercial Indian film has songs, akin to musicals but, in this case, more like music videos. There are five songs in the film, and they may be a turn-off to those not familiar with mainstream Indian cinema. However, they are well-integrated into the story-line, and they are among the best filmi (Indian film songs) I have ever heard, combining modern and ancient instruments with just a touch of electronica. The film really loses some of its impact if they are cut--they are that important. They are well-picturized (term for the filming of musical numbers in Indian cinema), and provide additional atmosphere. The influence of MTV is apparent in the editing style that takes over during the song sequences; this may interrupt the film's rhythm and impact, but they are part of the overall story. Unfortunately, I believe that the song sequences are being cut severely for international release, although I was lucky enough to see them in full DTS digital sound. Because of the need for Indian cinema to appeal to as wide an audience as possible (the "all-India film"), and because film-going in India is a family experience, films try to appeal to all members of the family. This means that violent scenes can turn into comedy, many genres are often combined, and there is neither sex nor nudity, not even kissing on the lips, because of a puritanical society. Overall, this may be seem cheesy to American audiences, but this is one of the pleasures of commercial Indian cinema. It is strange, though, with its lack of any nudity or sex, which are all suggested but never shown, that the film received an R rating. Yes, it is VERY violent, but the violence is quite stylized and often uses the power of suggestion rather than actual representation. I hope sincerely that, when First Look releases the DVD, the film is completely uncut and complete, with ALL the songs.

The film's last song, "Raat Ka Nasha," would be my Oscar pick for best song, an exemplar of superior filmi. The film itself definitely deserves an Oscar for Best Foreign-Language Film. It is a big bonus to see a film of such high production values devoid of any references to Western civilization or without any Western aesthetics. Incredibly entertaining, something for everyone (music, drama, romance, violence), with unparalleled high-quality production values and a moving story, "Asoka" is a dynamite cinematic experience. It is that good.


I enjoyed this film immensely. I had never seen a Bollywood film before this, and given that I love to sing and dance and watch romance, this film filled my needs and desires. It may not satisfy others' needs or desires, especially if realistic action/fighting scenes are required, or fantastic acting skills, or seamless dialogue. Shah Rukh Khan and Kareena Kapoor meld delightfully in their romance, but after seeing a few other movies with these two superstars in them, I admit their acting skills are not exceptional-I noticed that their facial expression and vocal fluctuations are almost identical in other films. It seemed to me that they each brought themselves and their stardom to the scene more than the essence of the characters they were portraying. Maybe this is simply a trait of Bollywood actors and actresses across the board-understandable, since they make so many movies, it would be quite difficult to really learn each character and portray it believably. That being said, I loved Shah Rukh Khan's big hooked nose and his eyebrows, and Kareena Kapoor's beauty and personality beamed through this film. I have yet to see a Bollywood film with comparable dance scenes (I love dancing along to "O Re Kanche") and unforgettable music. The elements used in the cinematography for "Roshine Se" were beautiful. There are some other memorable shots that stick with you,for example, the memory of the spilt milk, that hold the magicalness of the chance gathering of all involved in making this film, the essence of something beautiful and perfect that will probably never come together again. That essence is as poignant and lingering as Indian spices, and that is why I love Asoka.


I'm so in love with this movie. I'm very glad i rented it. my husband even liked it,which was a welcome surprize.I love'd the imagery and powerful story. It pulled me along with it the entire time. I liked the love story between Asoka and his "warrior". I love that her character was so strong.The war scenes are very powerful but not so much in the overly gory way seen in most movies. This movie broke my heart several times during the watching of it-but in a very good way. I've been inspired to check out this genre more often.Asoka's a legend\ folktale brought to life the very way i'd want it to be if i were reading it.I plan to add this movie to my collection and reccomend it to others.


I've never seen lots of Indian movies. Monsoon Wedding was my one and only, in fact. This was a great film to follow up with. It definately offers viewers a style of movie which isn't as familiar as typical Hollywood productions. While Monsoon Wedding was a great film, it was in a format I was comfortable with...while Asoka gave me something new. The muscial accompaniment had me, at first, shaking my head and thinking "what in the world"...but now I can't imagine the film without it. The score is compelling and I now own both the DVD and the soundtrack, lol.

If you want something off the beaten track. Something purely ethnic and not just a Hollywood production with minority players: give Asoka a chance. No, it may not be historically correct, but that wasn't the purpose of this movie. It's for pure entertainment and enjoyment and it succeeds very well in bringing both to the screen.


Like many (I assume), this was the first Indian film I'd ever really seen. And like many, I presume, the first time a song/dance number came up, I was surprised, and even started laughing. I thought it was a joke. But toward the end of the movie, as it got darker, more violent, more depressing, I realised the importance of the musical bits. They do add quite a lot to the movie, and actually drove me to download many of them, they're so catchy.

In the end, while the film quality is lacking at times, the acting, music and flamboyantly dramatic direction make this an incredible film, and a favourite of mine. That, and the women are hot Hot HOT. High-five, India.

If you liked Shah Rukh Khan in this movie, and are in the mood for a good old fashioned Bollywood comedy, check out Dilwale Duhania Le Jayenge. It's alternately in Hindhi and English, which makes it confusing for a bit, but it's fairly enjoyable.

Overall, Grade A work.


Shah Rukh Khan proves here again why he is the reigning King of Bollywood, as he plays the man who would be king, a troubled young warrior-in-training named Asoka. He inherits a sword (with a thirst for blood) that was cast off into the stream by his grandfather who was tired of seeing battle and war, and from that day on Asoka becomes the envy of his stepbrothers because he trains himself to be invincible on the battlefield. One day while in exile, he meets and falls in love with a beautiful runaway princess names Kaurwaki (played to the best of her ability by Kareena Kapoor, considering that this role was supposed to be for Aishwarya Rai who personifies the meaning of beauty more than Kapoor ever could) and after a few song and dance numbers, they marry each other in the deserted forests. They are existing happily until one day members of Asoka's family track him down to tell him that his father as taken ill, and this makes him end his exile to return home. He promises to return for Kaurwaki (who doesn't know that he is himself a prince) but due to unforeseen circumstances, he is unable to return to her as ends up marrying a smitten young caretaker (played by Hrishitaa Bhatt). A battle for the throne ensues when upon Asoka's return home the king passes away and he has to slay his opposing brother in order to ascend to the throne, which he does. He becomes more and more sinister as things don't go his way. Then one the day of a planned battle he is reunited with Kaurwaki on the battlefield after an intense bloodshed of her people in which left him victorious in battle. They are all forever torn apart as they patch up their histories and sorrows and Asoka's new wife ends up leaving him after the birth of their children.


My introduction to "Bollywood" genre of films. I actually caught this one on the big screen out of curiosity, without seeing a trailer, the poster alone grabbed my eye. I was a bit caught off guard by the singing/dancing numbers at first, but the story and visuals won me over. I enjoy films depicting historical scenes or those in the fantasy setting (Lord of the Rings,etc.)and this had a familiar feel, with the exception of song/dance numbers sprinkled throughout.

I rented the video once I came across it, and to my surprise, my wife and family fell in love with it! To this day, they remember the songs and have their own favorite scenes. I have come to describe it as something "similar to Braveheart(visually), with songs!" I can appreciate the story from another culture, being told in another culture's own way. Miss out on it if you will, but I definitely plan to own this one.


SPECIAL NOTE: Although this film is based on a true historical character, however, the film is not intended to depict a documentry on the real Asoka's life/journey as was in reality. Most of the film is highly dramatized for the entertainment value. This film does however provide very basic information about the actual Kalinga War and asoka's transformation from a hindu to a buddist.

Synopsis-

Asoka (Shahrukh Khan) grows up fascinated with a voilent weapon and hopes that it will in return bring him great power and respect. The setting of the story is in the 2nd century B.C. in the kingdom of Magadha of south central India. Eventually Asoka grows up to be a great furious fighting warrior winning many wars and battles thus expanding the entire Mauryan Empire. Asoka's goal is to become the new head of the throne which was currently headed by his elder brother Susima (Ajith). Susima, whom becomes extremely jealous of Asoka quick rising fame and power, try's many indirect attempts to have Asoka killed before he reaches the throne but sadly for susima, he fails at all attempts to have asoka killed. Asoka's journey later continues when he is asked to leave the Kingdom of Magadha by his mother Dharma (Subhasini Ali) and for him to go in his own path. Asoka decides to go to Kalinga, on his new journey, he meets a wise buddist who tells him that his journey is larger than just heading the throne of Magadha. Asoka also meets and falls in love with a strange women Kaurwaki (Kareena Kapoor) also known to be Princess Kaurwaki of Kalinga. As the story develops more, Asoka and Kaurwaki get married but on the day of their marriage, Asoka is asked to return to Magadha as news makes him aware that his mother is very ill. As the entire story from here unfolds, things take a real big turn, as Asoka does indeed become larger than just retaining the throne, he also loses his communication with Kaurwaki and her younger brother Arya (Suraj Balaji) and the story leaves you with a shocking and questionable ending.

Technicality-

This film has dynamite Cinematography (Santosh Sivan) & Art Direction (Sabu Cyril), its easily compariable to the likes of Santosh Sivan's other great works such as The Terrorist and Mina Nair's Kamasutra and almost to the likes of Peter Pau & Jian-Quo Wang Chrouching Tigers, Hidden Dragon. For a commerical bollywood film, its cinematography & art direction is the most exotic & decadent works in reccent times and it actually makes one believe that the setting was indeed the second century B.C. of Ancient India. One can also easily debate weather Santosh Sivan's cinematography alone had a message of its own inrelations to the story. He is perhaps one of India's most thought-provoking film cinematographers ever. However, technicality, these are perhaps the films two biggest plus points. As good as that area is, other technicality ares strongly disappoint just as well. A. Sreekar Prasad's film editing & Sandeep Chowta's background musical score is very poor. Many times through out the film, it felt that the story was being rushed and that each scene wasn't shown with full justise. This is hard to believe, as A. Sreekar Prasad has done some excellent film editing for previous films such as Dil Chahta Hai and The Terrorist. Even most of the songs were not shown with proper starting and/or ending, I've even noticed that bits of each song was deleted inbetween to kick forward the movie ahead. Only thought that comes to my mind when realizing this is, Why? Which brings me to the background musical score by Sandeep Chowta, there were some parts in the movie where background score was loud and annoying and I felt that some scenes would have turned out to be better without any background music just so that the scene can be simple just as its setting, by adding the background music made the look of those certain scene unrealistic and more of a fantasy, which is a total turn off. Even some action fighting sequences (excluding the Kalinga War) were poor. However, the Kalinga War itself wasn't the works of anything original, I spotted a few scenes which were ripped off from Hollywood movies such as The Patriot & Gladiator. Though I totally don't disrespect the entire Kalinga War scene, as it is one of my favorite scenes of the movie.

Performances-

Shah Rukh Khan is really good, Asoka is perhaps his best performance since Mohabbatein and Hey Ram. He is especially good in the second half of the film as his character takes on some major changes and Shahrukh Khan does good justice to each transformation. His performance is bound to get him a nomination for best actor in most award ceremonies next year. But it is Kareena Kapoor whoes performance suprises the most from the entire cast, this is her best attempt at acting since her dabute. She had a very challenging character which took many twist and turns, and she played it perfect to the T. She too is bound to get a nominee for best actress for her performance in Asoka at most award ceremonies next year. Other commendable performances should go to Suraj Balaji, whom portrayed the cute, innocent yet brave little younger brother of Kaurwaki. Also, not to mention Rahul Dev and first time newcommer Hrishitaa Bhatt for there commendable performances. And Johnny Lever, whom as always provides great comic releif.

Overall Thoughts-

The film's greatest trademark are its Cinematography & Art Direction which hold really strong from start to finsih, and this was easily expected from this film because you have two masterminds working on it side by side. The first half of the film is so-so because of its poor film editing. But thank goodness for the second half, the story really begins to catch attention, and the main performances really begin to appeal to the eyes. Santosh Sivan's overall direction is good, although his work in the Terrorist is easily superior than Asoka in the direction department. So does Asoka have a repeat viewing value? I would say that it does in most cases, mainly thanks to its overall look and a strong second half film for its saviour. However, A bit of more depiction of Asoka becoming a buddist would have been more appricated. Though it is not the best film of the year (2001) and it cannot be compared to the quality of Lagaan through its story telling, but its definilty one of the top five films of 2001. But one thing I cannot stop addressing enough of is that, from the point of view of its Cinematography & Art Direction, Asoka is a true classic, its definitly a visual feast to the eye.


This movie is so good and made very well. I feel it was as big of masterpiece as Braveheart. The art direction couldn't feel any more epic. The war was the best part as it shows it was one of the most bloodiest battles. The art direction is perfect. The background music is spellbinding. However, the story flaws because Asoka's story has been made for a movie which is the only problem I have with the movie (More on this later).

But one performance nobody will ever forget is SRK's. Shahrukh Khan gives an awesome performance. It is a shocker how he did not get nominated for an award for this movie. It is ten times better than his K3G performance. Yet Kareena Kapoor is a revelation (after her second two films). Roles like Refugee and this will get her somewhere. Roles like Mujhe Kuch Kehna Hai, Yaadein, and too an extent K3g are a threat to her career. Rahul Dev and Danny Denzongpa are a nice addition to the cast. Hrishitta Bhatt, who makes an excellent debut, and Sooraj Balaji, a good child star, prove that awards are highly overrated.

The songs have an epic feeling, and fit the film very well. Roshni Se is an awesome song and arguably the best song in the soundtrack. Raat Ka Nasha is another good song mainly due to Chitra's singing and Kareena's excellent emoting. San Sanana is a catchy song. O Re Kaanchi is a fun dance song with excellent dancing by Kareena Kapoor. Aa Tayar Hoja is an interesting song with good choreography as it shows typical male entertainment from that time.

I gave this movie a 9 out of 10 initially, but I now gave it a seven. The reason being is this movie is quite inaccurate. They don't show his transition to Buddhism and his life after Buddhism are given no significance. All they really showed was his love with Kaurwaki who was not even a princess (just a fisher woman). They also gave no significance to Devi, who was much more important in Asoka's life. It is primarily a love story. That sucks because this movie was so good, but that flaw always interferes whenever I see the movie (even though the movie states it is not a true story). With the consent of that, this movie is truly a masterpiece (if you ignore the accuracy) and is worth a watch.


On a third viewing on DVD I am confirmed in my opinion that this is not only the best historical film produced in India but that is as good as the best Hollywood films such as Gladiator and Braveheart. Both the latter films are not historically accurate but Asoka is as near the truth as one can get about Asoka most of whose history is also historical speculation. The film makes very credible narrative of the pre Buddhist phase of Asoka and his conversion. Kaurwaki is also a historical figure as she is the only queen whose name appears in Asoka inscriptions.

The film is beautiful and imaginative and has beautiful scenery and music. It follows the Indian cinema conventions in including song and dance sequences which appeal to audiences not only in the subcontinent but across the Middle East, North Africa and South East Asia.

Shah Rukh Khan is superb as the young Asoka. Especially well done are his sequences in Magadha with his brothers and father and his later scenes in war and the Kalinga battlefield with the remorse and repentance.I have certainly not seen anything in Indian cinema to compare with this. Laurence Olivier's Hamlet and Henry V come to mind. The film is worth multiple viewings and one should certainly own a DVD.


A blend of old-world atavism and crystal clear imagery, compounded with lush art direction and stirring music, Asoka is a haunting journey into the life of India's greatest emperor. The film is extremely stylish in its mix of Indian aesthetic and contemporary simplicity which reflects in the art direction by Sabu Cyril and pleasing costume design. The performances throughout the film are spot on with Shah Rukh Khan ruling the roost once again with his stupendous and sincere portrayal of Asoka, his myriad emotions and thoughts shining like a mirror in every frame. Kareena Kapoor as Kaurwaki makes a beautiful and sensuous princess, commanding the screen with a presence, that few of her contemporaries can rival. The highlight of the movie is of course the surreal envisioning of the Great War of Kalinga, which is breathtakingly choreographed with a scale that could stand in good stead with some Hollywood films. Technically, Asoka has few rivals. The cinematography is A-class and the editing crisp. Sivan's script is tightly woven with moments of passion and intrigue erupting at regular intervals keeping the viewer gripped. For all practical purposes Asoka is a winner, and comes through in style mesmerizing the audience with its spectacular visuals and searing their souls with its haunting portrayal of truth.


This film, combining familiar elements of epics such as Gladiator and Braveheart, is directed by the internationally renowned Indian director Santosh Sivan. Sivan is primarily known for his low-budget arthouse hit, The Terrorist. "Asoka" is quite different from The Terrorist in both scale and starpower. Shah Rukh Khan, India's biggest star, plays the Mauryan Emperor Asoka, who wages bloody wars across the country only to renounce violence when he witnesses the aftermath of the destruction he causes. Drawn from legends and folk tales about the emperor, much of the film is not historical fact. However, the narrative provides true entertainment. Some criticism: "Asoka" seems to be using the same "Bollywood" love story formula, and augmenting the story of Asoka onto that formula. If it had been the other way around, this film would have been far more intriguing and relevent. Most of the movie revolves around his romance with his one true love, princess Kaurwaki, played by Kareena Kapoor. We are left not knowing much about Asoka's message of peace, only his trials with love. On top of that, the poor song and dance numbers in the film disrupt the narrative flow. On the other hand, while Anu Malik does a bad job with the composition of the songs, the composers Sandeep Chowta and Ranjit Barot weave a superb musical score seamlessly into the film. Even with its faults, "Asoka" is gripping through and through with spectacular battle scenes, fine acting by Khan and also, notably, Ajit Kumar, who plays Asoka's duplicitous brother Susima. Techincally, the film is unbeatable by any other Indian film to date. The editing is fast paced and spectacularly done by Sreekar Prasad, the premier film editor of India. The direction is magnificent, and above all else, the cinematography, done by Sivan himself, is indescribably gorgeous. It is sumptuous, and spectacularly vivid. Sivan is regarded as one of the world's premiere cinematogaphers, and this film is proof positive of that. This film should, like Aamir Khan's "Lagaan", be able to break through to western audiences. All in all, a great acheivement.


`Asoka' is a story of love and war. In the end love conquers all, no pun intended. I would say it's one-third `Gladiator', one-third `The Patriot' and the rest is a typical love story that comes with Hindi films; boy meets girl.. et al. The scenes were edge of your seat suspense, guessing and enthusiastically awaiting the next. The music was different, not too much song and dance but it was very soulful music that related to the story. Kareena's performance was outstanding. Her role was powerful, I don't think just about anyone could've done it; she carried it out well. She definitely earned her spot as one of the best in Bollywood. As always, ShahRukh was remarkable. He played an aggressively barbaric and cold-hearted warrior but underneath his heavy armor and seriousness, you'll find that same charismatic ShahRukh that wooed us in "KKHH". All in all, I recommend `Asoka' to anyone who's looking for something different. It has everything, action, heart and a little humor. I will warn you that it gets nauseously graphic with body parts flying allover. Viewer discretion is advised.


The movie is a good entertainer. It is a portrayal of Asoka as a normal human being rather than a great king who stands out from normal people. And as much is not recorded abt his life, the director has taken the liberty to make it like a fairy tale. And he has done it amazingly well! The things that stand out are the breathtaking scenes and the acting. Santhosh has proved yet again why he is the best cinematographer in India. The role of asoka in this movie required someone with a wide range of acting skills, to portray the different shades of the character(asoka), as he progress through his life. SRK, one of the few who could have done it, has carried out his task with perfection! Its also very interesting to note how well the fight sequences have been taken. I never expected the war scenes to be of this standard in a bollywood movie.


I've finally got down to viewing Asoka in its entirety, given that my closest shave was when it screened on television some years back, but I got interrupted with an extremely long phone call, which left me with only 10 minutes into the start, and the last 10. Yes, I knew how it ended, but who's satisfied without getting at the meat? Moreover, the complaints that surrounded the film also intrigued me, as it really seemed that the dramatic license taken to interpret a BC-era story had met with plenty of objections for not being historically accurate.

Given India's rich history, there isn't a lack of stories involving kings of the past, such as that portrayed in Ashutosh Gowariker's Jodhaa Akbar. Asoka took on similar romantic proportions, in that at its core it has a love story to tell, rather than one focused on waging war throughout the lands, although this was touched upon in the latter half of the film, stemming from a death of his heart, and the embracing of a rage against the known world.

The first half introduces us to the star-crossed lovers, and the usual boy-meets-and-woos formula. Asoka (Shah Rukh Khan), being the favourite son of the Magahda empire, is in line for the throne, to the detest of his brothers. Rather than allow the family to disintegrate into chaos, his mum sends him away in exile to his objection, but his love for his mom meant obedience, and he journeys into rival kingdom of Kalinga incognito as a commoner. That of course still doesn't stop his brothers, especially the next in line Susima (Ajit Kumar) from continuous plotting his eradication.

Then there's Kareena Kapoor (credited as Karriena Kapoor, in her first pair up with SRK and looking more voluptuous than her skinnier self now) as Kaurwaki, the princess who together with the king-in-waiting Prince Aryan (Sooraj Balaji) and their trusted general Bheema (Rahul Dev) are in hiding because of a plot from someone in the democratic senate out to murder them to take over the throne. So you have set up a Romeo & Juliet circumstance, where descendants of the royal households fall in love, and also have to deal with the rubbish politics back home which bays for their blood.

The film paints a very emotional Asoka that Shah Rukh Khan excelled in bringing out, especially when three women in his life played an important part in his life-changing decisions, such as his mom's involvement for him to see the outside world, Kaurwaki in being his first true, and unattainable love that he yearns and pines for, and his eventual wife Devi (Hrishitaa Bhatt), a Buddhist who would be instrumental in his embracing of the religion after coming to his senses in the aftermath of his most brutal war waged just because of his insatiable appetite for more territory, though of course done in the name of uniting India.

But with romance out of the way, SRK also showed off the result of his training in the numerous swordfights he gets put into. The designers here had made his calling card, a "demonic" sword that has a bloodlust, resemble a little like He-Man's power sword, but without mythical influences of course. The other weapon that he wields, which is the more impressive of the two, is a double-bladed bendy-sword, which functions more closely as a whip. Nasty piece of equipment that, though Kareena herself do have set action sequences dedicated to her and showed she's no pushover too.

While the story shows how Asoka transforms through the stages, the middle section surprisingly was the best part, as it was the bridge between the two distinct halves which straddles the romance and the warrior aspects. Here Santosh Sivan and Saket Chaudhary's screenplay takes on liberties into bridging the two together, and it's quite engaging, with that sense of dramatic irony always omnipresent, and Fate having a field day with the characters involved, providing a catalyst for that inevitable charge toward change. It's somewhat predictable of course, but presents that sense of impending doom and gloom that the narrative turns towards.

For a film made in 2001, the editing here did seem a little jarring, but further research explained that this was inherent to the version of the DVD viewed, which included a very obvious missing Interval title-card, which splits the film into two given the industry's run time for films. The song sequences of the movies now try not to have spatial and time warps and transportations, and for a film back then, it's still a technique (if you will) used to put the romancing characters in far out locales and situations. I'm not complaining, since my favourite song of the film has this incredible dance sequence between King Khan and Kareena (choreographed by Farah Khan) beautifully filmed against some surreal, haunting backdrops.

I feel that this interpretation for the screen would also suffice, though stopping short at what Asoka is more renowned for, the propagation of Buddhist teachings across asia, and his emblem, the Chakra, emblazoned on the Indian flag of today.


Asoka (Without Sorrow), 2001, 171min, Dreamz Unlimited If you like Sparta 300 and Gladiator, you will love this movie. Writer-director Santosh Sivan set out to make this loosely historical epic young Emperor Asoka, one of the India's greatest emperors of the Maurya Dynasty from 273 BCE to 232 BCE.

Though the story is largely fictional, Sivan uses actual historical figures and tells the story in the context of the events of the day. From its opening moments detailing Asoka's trust for the sword to the sumptuous splendor of the battlefield defining the skill of Asoka's swordsmanship, the visuals of the film Asoka are simply breathtaking. Blending an eye for detail in production design, Sivan brings the long-dead civilization back to life like no other Hindi film has done before. First and foremost, a big round of applause to not only Sivan for orchestrating this enjoyable historical jaunt and evocative cinematography, but also Manish Malhotra for the gorgeous costume design and John Kundan Pai for the beautiful production designs. Stunning ancient architecture, strategic use of curtains and lighting, and absolutely stunning garb work with the unique camera angles to bring the ancient era to light. Scholarly issues aside, this is the kind of film that defines the term 'masterpiece' filled with spectacle and action, and telling a story of epic scope and humanity. Asoka is an enthralling and totally immersing production that will probably be viewed as a Hindi classic paving the way to films like Jodha Akbar.

Asoka and Kaurwaki (unbeknown to her that he is indeed her love Pawan), gather their forces for the final show down confrontation known to history as the Battle of Kalinga, whose outcome decided the fate of civilization and destiny of Asoka. A man who began his life as an emperor but ended as a monk achieving what he dreamt of which is to become the greatest emperor in history, that is emperor of hearts. The reticence pays off near the end when screenwriter provides the characters with a provocative and literate debate about the nature of war.

Though many will remember the film for its violent and edge-of-your-seat battles, there is a lot of humanity found within this film, which builds up nicely to the film's emotionally satisfying climax. Sivan chooses to devote a fair amount of time focusing on Asoka's worrier Princess Kaurwaki, played beautifully by Kareena Kapoor. Her character is as violent, sensual, and full of intrigue her counterpart Prince Asoka. This complex love relationship between two people from rival kingdoms is expanded upon from its historical reference to portray Kaurwaki as a strong willed and passionate woman. There are few of passionate (I say not enough) moments between Asoka and Princess Kaurwaki highlighted by the music sequences tossed in to balance out the brutal and savage war scenes (not to mention a smoking-hot wet scenes of Shahrukh and Kareena) making the film worthwhile to watch.

What raises Asoka above the usual epic drama is not only the strength of its story but power of its performances. More on Isisbollywood RHK


I love the film ASOKA because it was a very special film! King Khan's performance was excellent+! The songs and dances were exotic! King Khan really have the face of the king, and his name is the perfect name for him. Originally, I am from Kerala India and I really enjoyed watching Kallari because I haven't seen any films with Kallari since I have moved to Alaska. At the end, I was bursting into tears but I watched ASOKA several times. I do not understand why Asoka was placed second to Amir Khan's film. I watched that film too and I thought it was just an okay film. I am still curious about what happened to Asoka, Karwaki, Devi and the children. Is there a chance for Asoka II?

Meena


Absolutely loved all that I saw. I haven't seen the first bit, but the last hour and a half is definitely awesome. I don't know if this historically accurate or not, but it is historic enough to give you an idea of Asoka's story, the rise to power, Battle of Kalinga, change to Buddhism, all these are addressed. Everything had the hall mark of a great movie. The grandeur of the Mauryan empire was palpable. Asoka's evil in his rise to power, his ruinous campaigns for the empire were not just seen and heard, but felt. Absolutely awesome was the battle- the scale of the battle, the destruction, the disaster, the hatred and then the repentance, the scenes say it all absolutely wordlessly (Mark the scene where Asoka offers the dying soldier water, and he refuses to take it from the hated Asoka). Karuwaki's "you're Asok" deserves a place amongst the best scenes ever. I could feel the hatred she felt in my throat.

The movie is probably somewhere in between Gladiator and The Hero, but absolutely has its own mark, the distinct Indian flavour. Wonder why it isn't more celebrated. Did this really flop in India??? Why??? Its probably one of the best movies to have been made!!!


This film is not for everyone. It has the typical Bollywood treatment, complete with a multitude of bright colours, pretty dancing girls, long dance numbers,and catchy tunes. The sets and fighting scenes are poor. The direction is disjointed and the editing clumsy. Nonetheless the film has great charm. The tragic tale of Prince Asoka, the great emperor and disperser of Bhuddism, probably bears no greater resemblance to history than does Shakespeare's MacBeth or Anthony and Cleopatra. But it does have something profound to say and its format as a tragedy can be moving. The lead actors are competent and the script is deserving of better treatment. Don't expect too much and you may find yourself moved by its colour, pageantry, charm and message of the value of peace and fullfillment over war and ambition.


I heard my parents talking about this TV movie that they felt was a little too violent and scary to have been shown on national TV. According to them, it would have been better for cable. That TV movie was 'Something is Out There'. They had taped it so they could watch some dumb sitcom instead. I felt a nagging urge to see what it was they were talking about.

Man were they ever right. Not only was it really gory and freaky to boot, but it was one of the coolest TV films I've ever seen. You've got the mysterious killer mutilating NY residents, the hot chick who claims to be from from outer space, the drunk/loser detective, and one of the nastiest villains to ever grace the small screen.

#1, I was taken for a loop. I thought the killer was jsut an ordinary psycho who loved to eviscerate joggers... but when it turns out to be an psychopathic alien fugitive that can disguise itself as anyone it wants, I was put into a mild state of shock.

#2, For a TV film, the FX are awesome (for the time period). This was before the computer FX revolution, so they look 'real'. The alien villain is actually a very sweet looking puppet that is frighteningly insectiod-like.

#3, The characters are fleshed out completely making the viewer actually care about them. The acting is impressive as well (especially the luscious

Maryam d'Abo).

#4, Man is this thing sick. I have to give credit to the director, he's got balls. People get ripped apart from the inside out by the alien constantly in this flick. Not only that, but we get some nasty views of the alien's early victims that it was studying, plus some gross after the fact corpses.

In the end, this is probably one of my favorite TV movies... or movies period. Where is this on DVD dammit! It was actually turned into a short lived television series featuring the same characters and actors, but the cool alien killer was nowhere to be found, thus making it pretty worthless.

If it's ever shown on TV again, watch it... you won't regret it!


Recently was on Encore again. Vintage Maryam D'Abo. Why the owners refuse to release this on DVD given the large cult following I will never know. Some years ago I suggested another movie on DVD. The studio didn't think there would ever be a market for it. They have made more on the DVD than they made in the theaters by several times. (A Kelsey Grammar film)

Something is out there was released in Australia on a rather pathetic VHS tape. This film deserves digital re-mastering and the DVD treatment. This made for NBC mini-series was outstanding. The later series...

The movie could have been better if it had been done as a theatrical release instead of TV. D'Abo is a much better actress than she ever gets credit for.

Whoever needs to get them to release this film for serious collectors.


Something is out there (1988) is all about detectives Jack Breslin (Joe Cortese) and Frank Dileo (George Dzundza) who are investigating a serial-killer, who slaughters his victims and removes their internal organs. While in the crime scene, Jack notices the constant presence of a beautiful young woman, Ta'Ra (Maryam d'Abo). He finds her and is convinced that she is a doctor from a prison in the outer space. She explains that the murderer is a powerful alien, who is able to change his appearance, that escaped from prison, and she is chasing him. They join forces trying to eliminate the menace to planet Earth.

"Something Is Out There" is a very good sci-fi/horror B-movie, using a similar storyline of "The Hidden" (1987). The story mixes crime, horror, sci-fi and action, and it stars the lovely British Maryam d'Abo.

The movie is fast paced and lots of fun and the effects are very good too.

I give this very entertaining horror 8/10, it's pretty rare movie to find though!


First the plot: A policeman investigates a mysterious set of serial killings in which the bodies are attacked, moved a considerable distance and systematically dissected in less than a minute. His attention is caught by an attractive blonde (Maryam d'Abo) who turns up at various murder scenes. Things get weird when he attempts to question her, for she runs, and when he pursues her, she is remarkably athletic, and, she shoots at him with a ray gun.

It turns out that the killer is a shape shifting alien criminal with psychic powers, and that she (the blonde) is sole survivor (the medical officer) of the prison ship from which it has escaped, and which is now crippled and in orbit around the Earth. She has come hunting it because it will wipe out the human race.

This has every cliché ever to appear in any science fiction movie: glimpses of a scaly monster lurking in the dark, ray guns, space ships, zombies and gob-smacked humans standing comically in front of alien shuttles going "I don't believe it". Furthermore, it is guilty of that old filmmakers' favourite, the vacuum of space which transmits sound and in which fires burn freely. This is really B grade stuff. But I think it is a good movie. So why do I like it so much?

I like it principally because of Ta'ra (d'Abo's character). This is partly because Maryam d'Abo is absolutely gorgeous, complete with her catsuit and beautiful voice, but more to the point because of the depth of the role she is given and the skill with which she pulls it off. She is alone, until she befriends the policeman, and cut off, and woefully ill-equipped to deal with her foe. Yet she approaches it with good humour, pulling the leg of the incredulous detective (once she has proved her bona-fides) about her alien abilities. Initially, she seems like a normal Earth person, describing the inhabitants of Earth as "a human race". However, gradually, differences emerge. It is these things, and the way they are treated, which give the characters depth.

For example, at one point he discovers she has one particularly extraordinary ability. When she realizes he doesn't share this gift, her response is "And you say I'M not normal!" It hadn't occurred to her that he couldn't do it. These differences cause occasional surprise, humour and, sometimes, exasperation. But she learns to use them to advantage, and when she couples them with her feminine wiles, with a wink and a nod, she can be quite effective.

She doesn't go through the movie as the standard smart-mouthed, sassy, kick-but uber space trooper, blowing everything away and taking no lip, which is what could have ruined this movie. Instead she uses her brains (including her knowledge of bio-science), good humour and charm, and barely resorts to firepower and then only as a last resort. (Her policeman friend does most of the blowing away.) The dialogue works well, and is often original (refer to Ta'ra's opinions on space ship self-destruct systems).

These qualities give the characters depth and, thus, add to the realism and tension.

And the special effects are reasonably good, with the exception of the usual nonsense about what happens in vacuums.

So I give the movie an 8 out of 10.

The subsequent television series wasn't as good. It becomes something of a standard cop programme, with ray guns. And Ta'ra's character hasn't the depth. For example, suddenly she develops an ability to develop super-weapons. Where did that come from in our ship's medical officer? If you were stranded on another planet, how many advanced weapons do you think you could build? I don't think so!


The actions of two men on a drunken spree turns out to be fatal for the man who is being harassed because he dies as a consequence of a fight with his two tormentors. Both men are apprehended and condemned to die as punishment for their actions. The way to die is beheading by guillotine, or "the widow" in the vernacular.

Thus begins this story that director Patrice Leconte directed, based on the screen play by Claude Faraldo. The story is set in the remote island of Saint Pierre, off the coast of Newfoundland. This is a hostile environment settled by the French. Saint Pierre boasts a lot of widows who have survived the rigors of the climate and the hard lives their husbands led.

Into this milieu we find a military captain and his wife. Both are Parisians and appear to be compassionate, at heart. When Neel, the surviving drunk is brought to be kept in a cell within the military quarters of the island, the wife, Madame La, takes an interest in the man. With her husband's consent, she asks for his help in tending a green house in the premises and other errands.

Neel and Madame La are at simple view, just opposites. The kindness Neel sees in her, transforms him. Madame La even goes to help him learn to read. All these actions don't sit well with the rest of the inhabitants and the people in the government who demand a guillotine is sent over and have him execute the prisoner.

The film works because the brilliant performance of Juliette Binoche, who as Madame La, makes her mark in the picture. Her compassion for Neel is genuine; in her heart she believes this man, a product of the environment in which he was born, shows qualities that no one has seen in him.

Emir Kusturica, a noted film director himself, is also one of the assets of the movie. Mr. Kusturica is a large man with unkempt looks, who is totally believable as Neel. His interaction with Madame La turns from gratitude into a noble love that is not meant to be.

The other principal is Daniel Auteuil who is perfect as the captain, the husband of Madame La, who is outraged by what he perceives to be the wrong punishment for the accused Neel. In spite of the menacing presence of Neel next to his wife, he trusts her as he knows her kind heart belongs to him only.

"La veuve de Saint Pierre" is a great movie that will satisfy viewers in search of a different story. Patrice Leconte has directed with panache as he takes us to see the beauty of Saint Pierre, something that is so bleak, yet it's a place that has a magnetic attraction as we watch the film unfold.


You have to watch the odd foreign film such as this to understand just how far Hollywood has strayed from cinematic honesty. This is a simple, beautifully done, superbly acted piece of theatre set in one of the world's least known places, the fog shrouded French island of St. Pierre, off Newfoundland. It's a simple yet gripping film with an intriguing plot, almost a morality play. There is visceral human drama, much mystery and wonderful soul stirring pathos. And how nice to see a movie without the mandatory Hollywood happy ending. A well spent evening!


I was most impressed with the visual language of this movie that does not waste words to show emotions. The tensions are well reflected in the play of the actors, whose gestures, shrugs and smiles say more than a thousand lines.

Another interesting feature of the movie is that it does not follow the easy path of romance that is "expected" by the public. In turn, it exposes a world which is cruel, unfair, where justice is determined by personal interests and where those who fight the system are seen as mad and excluded from the "high society".

It is a movie about the determination to fight for something one believes in!


THE WIDOW OF ST.-PIERRE may not be a great film, but amidst a crop of mediocre current releases, it's a fine effort that boasts a hardworking cast, awesome costumes and sets, terrific cinematography and excellent direction. For those unlikely to stay in and read MOBY DICK, the combination of austere location, mid-19th-century maritime theme, and the Reaper looming o'er the ocean tides offers a satisfying divertissement on a cloudy Sunday afternoon.

Based on actual court records, the plot begins after a Parisian military captain, Jean (Daniel Auteuil), and his new wife, Madame La (Juliette Binoche), arrive on an isolated French isle off the coast of Newfoundland, where widows outnumber balmy days 50 to 1. One night, two blind-drunk men brutally knife a man to find out if he's `fat or just big.' The court sentences instigator Neel Auguste (Yugoslav director Emir Kusturica) to death by guillotine, `the widow,' in French parlance. But the remote fishing island does not possess the instrument of destruction that its French rulers dictate and must obtain a loaner from Martinique. While awaiting its arrival, the government locks Neel in a dark cell and entrusts him to the care of the Captain and Madame La.

An MSW waiting to happen, Madame has a weakness for `desperate cases.' She asks Neel to build her a greenhouse and tend her plants, a challenging request in this hardscrabble environment. As the Parisian belle negotiates her homesickness and the austerity of her surroundings by cultivating her garden, Neel confronts his own banishment from society and cultivates his compassion. This is one of several lovely parallelisms director Patrice Leconte teases out.

The sexual tension between Madame and Neel, though enacted subtly, is nevertheless palpable. During a reading lesson, their fingers brush while scanning a page. As Neel scarfs down her soup in a mildly bestial manner, she looks on lovingly. And when he asks her why she so nurtures him, she replies, `We change, whatever we do. I am sure of that.'

Meanwhile, the fisherfolks' tongues are wagging-ever cautioning Madame's loving husband about the duo's blossoming relationship. The Captain, however, venerates his wife's `humanism' and trusts her enough not to interfere. He is another wonderful character, both strong and sensitive, passionate in his love of his wife, unwilling to back down in his defense of their collective ideals.

Both Binoche and Kusturica prove more than equal to their roles. Binoche imbues her character with much more depth than that of Vianne in CHOCOLAT. With her limpid brown eyes and achingly empathic face, she elevates this personage to the level of classic tragic heroine. Kusturica, given a part that begs overacting, never wrings out our emotions, yet shows he possesses true remorse for his actions and a heart kinder still than that of his benefactors.

Most memorable is the set. Shot in Nova Scotia and Quebec, the film uses clapboard and stone buildings, often snow-salted, as an apt metaphor for the government's rigidity in refusing to commute Neel's sentence, despite his overwhelming popularity in the village as a doer of good deeds. Clearly the film excoriates capital punishment, with such dialogue as Madame's fervent cry, `They aren't punishing the same man they sentenced!'

This widow's walk proceeds at a leisurely pace, perhaps a mite too slowly for 21st-century attention spans. But overall, if you like a good, dark tragedy, pick a dreary night and go.


As the best of French cinema does so adroitly, "The Window of Saint-Pierre" tells most of it's story laconically with knowing looks and subtle behaviors while the story it tells is a relentlessly plodding drama of unspoken words and the emotions they evoke. "Widow..." is more about integrity, honor, love, and other intangibles than it is about its relatively simple storyline and the characters involved. A beautifully crafted somber film, "Widow..." is recommended for mature audiences because a measure of maturation is required to appreciate all this austere film has to offer.


I have always been a Patrice Leconte devotee. His career in which incoherence and eclecticism get on well together (perhaps that's why he's often slated by French critics) is one of the most fruitful you could dream of, even if French mainstream public often associates his name with "les Bronzés" (1978), a commercial hit which put him on the map as well as the actors, the famous troupe of the Splendid and tends to overshadow the rest of his prolific career which spawned treasures like "Tandem" (1987), "Monsieur Hire" (1989) or "Le Mari De la Coiffeuse" (1990).

This vehicle "La Veuve De Saint Pierre" (2000) was originally to be directed by another veteran of French cinema Alain Corneau (who sadly shot the insipid "Prince Du Pacifique" that year, perhaps the nadir of his career) but he turned down the role due to disputes with the producers. So, Patrice Leconte inherited the project. His choice was motivated by the desire to work with one of the two main roles, Juliette Binoche (he had teamed up with Daniel Auteuil the previous year for "La Fille Sur Le Pont, 1999)

The title of the film has a double meaning: the "veuve" refers to Binoche after her husband's demise. The opening sequence presents her to us in her mourning garb (Leconte's work is served by lavish costumes). The audience knows that she is the "veuve" and will discover in the long flashback, how she has lost her husband. But a "veuve" is also a slang word for the sinister guillotine and it has a tongue-in-cheek connotation: Saint Pierre unlike France hasn't got a death instrument and must have one. All the time, the island is deprived of a guillotine, it remains a "veuve".

There are clearly two sides. On the one hand, the officers' who govern the island and are die-hards of the death sentence and on the other hand, the private triangle which encompasses Auteuil, Binoche and Kusturica. Between the two poles, the impending threat of the execution with the recurring images of the ship sailing across the Atlantic with on board the guillotine. The scenario eschews the tempting trap of the Manicheism and the officers aren't caricatures. As a matter of fact, one of the main thrusts of the film is to deride the leaders of the island who seek at all costs to keep the death sentence and their obstinacy is made ludicrous by the postpone of the sentence and the last words of the voice over contain grim details which give a slap to one of Doctor Guillotin's famous words: "a painless death is a progress for humanity". Moreover, they prove to be unscrupulous because when a new inhabitant settles on the island, they entrust him the role of the executioner without taking care of his opinion.

In the private triangle, madame La by guiding Neel on the way of redemption is full of condescension and solicitude but she's a complex character. Her reasons and motivations to redeem Neel are rather elusive even if she says (I don't remember the accurate cue): "I think human soul is unpredictable and can be able to become conscientious and intelligent. A little gratifying cue which should have been more construed and fleshed out and remains an inkling. Then, why would she encourage the sacrifice of such a devoted husband to try to save a convicted killer whereas it's doomed to failure? Is it a response to her husband's love? (If Auteuil sacrifices himself it's for love for his wife and respect for Neel). Certainly and if so, Leconte's piece of work is a novel and quirky approach on the relationship between husband and wife, a quite notable feat for an author who has seldom studied this topic in his filmography, except maybe in "Le Mari De La Coiffeuse".

Buoyed by a more than palatable cast with a special mention to Emir Kusturica who was a discerning choice because he could convey vulnerability and fragility to his persona of great strapping man, "La Veuve De Saint Pierre" may be derivative if we consider the theme of redemption and the thrust quoted in the fourth paragraph but its treatment is a far cry from Hollywood's formulaic conventions. How to rank it in Leconte's uneven but usually riveting filmography? It isn't on a par with his towering achievements but stands out as a more than palatable flick which however could have gained by being more deepened.


In 1849, in the Archipelago of Saint-Pierre et Miquelon, the drunken Ariel Neel Auguste (Emir Kusturica) and his partner Louis Ollivier (Reynald Bouchard) kill for a futile motive (to see if he is fat or just big) the fishing boat captain Coupard (Michel Daigle). Nell, who stabbed the victim, is sentenced to die with his head severed in the guillotine while Louis is sentenced to hard labor. During the transportation to the prison under the custody of Captain Jean (Daniel Auteuil), there is an accident and Louis dies. While spending his days in the cell waiting for the guillotine and the executioner, Neel is invited by the captain's wife Mrs. Pauline (Juliette Binoche) to help her in her garden and becomes her protégé. Later he has a process of rehabilitation helping the locals in minor works and becomes very popular in the island. When he saves the building Café du Nord and her owner from sinking in the sea, his popularity increases and nobody but the governor and politicians of the council wants his death. Neel marries Eleontine Jeanne-Marie, but sooner he is informed that the ship Marie Galante has just left Martinique bringing a guillotine. Now the Governor and politicians need to find an executioner in the population to execute the sentence.

"La Veuve de Saint-Pierre" is a beautiful dramatization of a story of rehabilitation and intolerance. I do not know whether this event is partially true or not  there are references in Internet to this story but in sites that I can not trust  but this movie is wonderful. The story and screenplay are engaging and very well written with powerful lines; the direction of Patrice Leconte and the performances are top- notch, with Juliette Binoche extremely beautiful and elegant as usual and showing a magnificent chemistry with Daniel Auteuil; the cinematography and costumes are wonderful. Based on my adjectives, it is unnecessary to say that I loved this movie. My vote is eight.

Title (Brazil): "A Viúva de Saint-Pierre" ("The Widow of Saint-Pierre")


Good movie, good acting and a very accurate subject so close to American coasts... (St Pierre is a French island off the coast of Newfoundland).

This is one of the best anti death penalty films I have seen. A mix of the cowardice of civilian authorities and the pettiness of outposts officials who stick to "principals" and decisions just because they do not want to loose face... killing becomes a way to wash the humiliations of their crummy existence and low wits.

A interesting movie to be shown to all the governors of all the Republics where death penalty is still in use...


Beinvenue a St Piere, a French outpost off the Eastern shore of Canada. On this small island, Ariel Neel Auguste (Emir Kusturica) awaits Madame La Guillotine for having killed a man in a drunken brawl. A burly brute of a man, Ariel's quick thinking saves an islander from certain death when a house being moved slides down a hill.

Ariel's charm wins him the regard of Madame Pauline La (Juliette Binoche), wife of Captain Jean (Daniel Auteuil), the commander of the island's garrison. Islanders are divided on the issue of execution; most would like to save Ariel. Madame La sends Ariel, now a trusted prisoner, on a mission in a small dinghy. The idea is that Ariel will escape into nearby British or American territory, but Ariel true to his parole faithfully returns and even helps bring Madame La Guillotine ashore.

Yugoslavian born Emir Kusturica plays the French islander the commoner Ariel Neel Auguste with a sensitive gentility, persuasively tough and docile, hardheaded and obedient.

As Ariel waits execution, tables turn on Captain Jean. He's ordered home to Metroplitain France. Officially he's a guest of the fleet Admiral. Actually with political unrest at home Captain Jean faces the firing squad. He too is told of the many opportunities to escape, but steadfastly follows orders right up to his execution by firing squad.

Daniel Auteuil plays the tough-fisted French Captain with the practised arrogance of an officer used to getting his way.

I'm not entirely sure a motion picture though full of violence or threats of violence would be fully understood by an American audience. The parallelism between Captain Jean and the commoner Ariel is far too delicate for audiences which are addicted to shoot-em up high speed police chase lines.


An earlier writer was right - this IS cinema de qualite, fifty years after. For those who don't know, "cinema de qualite" was a phrase coined by one of the New Wave critics (I think it was Truffaut, but don't quote me) to express contempt for what he and his colleagues perceived to be the overly glossy, empty product typical of 1950s French cinema. Yes, well. The New Wave fizzled out after producing little of value, and the 1950s (no doubt its faults were real enough; Truffaut probably came close to seeing every single French film of that decade, so in one respect he'd be in a position to know) is looking more and more like a golden age, so maybe the phrase "cinema de qualite" is about due to be reclaimed. "Quality cinema", without the sarcastic sneer.

There are many lush camera pans over bleakly attractive scenery, which is good (not bad) in itself; but the main point is, Leconte USES the scenery. We don't doubt for a minute that this is the farthest-flung province in the entire French empire. The sea is rough (which partly explains why the murderer rows back to face execution: when every oar stroke is an effort, AND it looks to him as though he's doing the cowardly thing, the effort becomes unbearable). Every section of the island not actively occupied by civilisation feels as though it doesn't belong to civilisation - even though it's so desolate it doesn't belong to anything else, either. In short: the story clearly belongs here, and nowhere else.

One of the great things about this film is the way it shows people acting (in a plausible way) on desires which it's easy to overlook or underestimate the force of. The husband trusts his wife's moral judgment, and is prepared to act on it. The murderer feels as though he's living under a just sentence of death and does what he can to redeem himself. The islanders are all pragmatists: at the start they believe in the value of retributive justice, but as the sheer uselessness of retributive justice becomes more obvious with each passing day, for MONTHS, the belief collapses under the strain of holding on to it. It's partly due to Leconte's skilled use of location that we're aware of the effect the mere passage of time has on people. One of the best films of 2000, if you ask me.