This movie was nuts! I've never seen so many beatings in one movie. This one lived up to every expectation. Beware taking a girlfriend along though. If you like anarchic wackiness and don't mind a complete willingness on the part of the film makers to throw in whatever they think would be cool or fun, see it.


I've seen a good variety of Korean movies but this ranks among the worst I've seen. The story (without spoilers)...4 young Korean guys rob a local gas station for fun. Some time afterwards the guys get bored and decide to rob the same station a second time. This time around the owner has hidden the money, so the gang decide to capture the staff and work at the station to get money.

And so the comedy ensues. Or not. The four central characters somehow all manage to act badly and be annoying throughout the movie. Seong-jin Kang is incessantly flicking his hair around and stomping around. Sung-jae Lee is pouting moodily or chewing on invisible gum. Oh-seong Yu has at least half an hours screen time where he does nothing but shout at the characters to kneel with their heads on the floors. Ji-tae Yu is unconvincing as 'Paint'.

The inherent pointlessness & stupidity of the storyline makes the movie completely un-enjoyable. Why does the station not have any alarms, video cameras or security? Why do the hostages not put up any resistance against the criminals? Why is the music so embarrassingly 80's when this film is made in the late 90's?

Attack The Gas Station reminds me vaguely of 'Airheads', which may or may not be a compliment. If you've contributed to this movie's 7.1 IMDb rating you really should be ashamed of yourself. Let's recommend good movies for fellow IMDb users.


Let me begin by saying I DON'T like horror movies. I don't enjoy jumping in my seat. I don't like being afraid of the dark for the next 2 days, and I usually HATE Spanish movies. So usually I only see the big horror classics, and that is because I've read enough spoilers to confront the movie in a laid-back way.

Having said this, I was dragged to see this movie against my will. And I was right! I have never, EVER, been more uneasy, uncomfortable on any movie, from the Exorcist to the Prophecy, from Psycho to Halloween. The story seems obvious; the cliché-horror themes are there, and while I saw them coming, I was comfortable enough. But then comes the movie, the script, the score, the acting, all in perfect harmony... and you jump, and you chill and you shout and you wish you had never entered that dammed cinema.

It is good. It is great.It is moving and horrifying. It does not need CGI, sound effects or unreal characters. Its there. Its real. Its haunting. It WILL be a classic.

Chapeau!


I saw this at the Frightfest and its AMAZING, did the previous reviewer even see it? No real shocks!!, I've never seen a cinema jump like the audience at Frightfest for this film. I'm kind of tempted to name the shocks but I wont. Its such a stunningly made film, creepy, atmospheric, shocking, great story, beautifully directed, the main woman is incredible. I was never really sure if it was supernatural or psychological, but as it reveals...wow, its excellent. Its so well done I cant write more without giving stuff away, but go and see it. I was expecting a low rent " pan's Labyrinth " but I think it might be even better than PL, though very different. Best film i've seen in ages


The Orphanage is a slick and quietly chilling piece of work based around (what else?) an orphanage. A woman named Laura returns to the orphanage she grew up in as a child, with the intention of opening it up again as a home for children with disabilities. Together with her husband and adopted son Simon, Laura tries to make the huge old building ready to receive it's first new residents, but all is not quiet in the dusty rooms and grounds, and gradually she starts to feel sinister presences from the past making themselves known.

The film strings out quite a good story, blending traditional scares (bumping noises heard through walls and doors, silently appearing children in masks) with modern touches (Simon is HIV positive). Although most of the actual frights are on the soft side, the film does have quite away with sudden shocks, especially one great sequence involving the death of a sinister secondary character...you'll know when you see it! But mostly, things stay pretty calm, and there were times when I was wishing for something more visceral to actually happen, as many of the very well built tension sequences fade away without any cinematic pay-off, such as a very tense séance sequence, and in most of the (many) scenes of Laura alone in the orphanage, she being almost too subtly menaced for things to get really scary, which I think is a shame. However there are certain moments when you WILL jump!

However, The Orphanage still stands up as a strong piece of work. The backbone of the film is undoubtedly the strong performance by Belén Rueda as Laura, who carries the entire film admirably. The film looks great, with stunning photography and very elegant sets and a gorgeous building standing in for the orphanage itself. Sound and music work very well too, and the film succeeds in working many small elements together (such as a playground hiding game and some very clever revelations towards the end), so all in all, the film is an accomplished piece of cinema and well worth seeing, although don't expect too much real terror as most of the chills in this film are poetic rather than gruesome.


Bone chilling terrors with a hint of the fantastic await audiences who dare to enter The Orphanage. Produced by Guillermo Del Toro, The Orphanage continues the tradition the filmmaker started with films like The Devil's Backbone and Pan's Labyrinth, by showing the darker sides of humanity through frightening fantasies. In many ways Spanish director Juan Antonio Bayona has applied Del Toro's own winning formula to The Orphanage and has made the most flawless film of this lineage.

Moving back to the orphanage where she grew up, Laura and her husband Carlos plan to reopen the property as a home for mentally handicapped children. The gorgeous old house seems too good to be true, and it is. Her son Simon starts telling his parents of an "imaginary" friend, Tomas. Ignoring Simon's claims as merely childhood banter, the parents continue in their work, readying the house. Supernatural disturbances and a maniacal old woman start to disturb the family, resulting in the sudden and traumatic disappearance of Simon. Desperate and panicked, both Laura and Carlos must look within themselves, and confront the beings that haunt the orphanage, if they are ever to see their son again.

A commentary on faith and love, Bayona uses the thrills and troubling chills of The Orphanage to create a powerful message. Using the disappearance of Simon as the catalyst for showing the devotion of a mother's love, Laura plays a stark contrast to her husband's practical interpretation of their harrowing situation. While Carlos would rather believe that there is a logical answer to unlocking this mystery, Laura explores more otherworldly options.

Her knowledge of the orphanage and the solitary pain that her missing child must be going through makes her a prime vessel to confront the ghastly creatures from beyond, and answer the dark questions that De Toro and Bayona dare to ask. Like last year's Oscar front runner, Pan's Labyrinth, Bayona mixes a bit of the fantastical into The Orphanage. Allusions to legendary fables, such as the overt Peter Pan reference, combined with the staple fantasy images, help The Orphanage rise above the average horror romp.

With only the faintest bit of gore, The Orphanage accomplishes its scares methodically, using the somber atmosphere to give audiences goosebumps. The creaky old mansion appears far more menacing at night, and Bayona makes use of incredible sound mixing to keep viewers on edge as the protagonist explores the dark unknown.

Pairing the producer's innate knowledge of the cinematic language of horror with the raw and untested talents of a first time director paid off brilliantly. There is a sense of restraint when it comes to the scares in The Orphanage that many veteran filmmakers have failed to approach. Bayona lets the frights build subconsciously, making each one far more effective when unleashed. In fact, few cinematic moments rival The Orphanage for sheer terror as when Laura turns to a group of ghost hunters to help solve their specter problem.

Helping to increase the tense atmosphere is stellar production design and gorgeous cinematography. While there may be no fauns or pale men lurking in The Orphanage, the design of Tomas alone is sure to give off its fair share of shivers. Belen Rueda is equally stunning in her performance as Laura. The actress lends credibility to the phantasmagorical happenings, capturing our sympathy as a fully rounded character. We follow her as a mother and a victim, and we can only pray that her faith will reunite her with Simon.

Heading to American shores nearly one year after the stunning domestic success of Pan's Labyrinth, The Orphanage should appeal to an equally wide audience. While longtime, art house, Del Toro fiends will certainly be please with the dramatic arc of the picture, the strong horror element and shocking ending should make the film easily translatable for all viewers, despite the language barrier. One thing is for sure, with The Orphanage we have adopted another truly talented Spanish filmmaker, and Juan Antonio Bayona is a director to watch.

-Joe Russo


Attended the first commercial screening of The Orphanage (El Orfanato) last night at FrightFest, London.

Juan Antonio Bayona and writer Sergio G. Sanchez have delivered something really special for their first feature.

I have never jumped out of my seat like I did last night, nor my partner, nor most of the audience it seemed. Apart from the terrific scares, there are solid performances from the whole cast, stunning cinematography, and the editing is flawless. If I had to criticise one element, it is that the music swells just a little too much a couple of times, but it is a good score nonetheless.

See this one at the cinema.


I was lucky enough to see one of the first ever screenings of this Spanish horror film last week during the Leeds' International Film Festival. The Orphanage is the first film from director Juan Antonio Bayona and was produced by his long-time friend Guillermo Del Toro, director of my film of last year, Pan's Labyrinth.

The Orphanage tells the story of Laura who returns to the abandoned orphanage where she was raised in order to re-open it as a home for children with disabilities. Along with her husband and adopted son Simon who is HIV Positive, she prepares the orphanage to receive its new residents but all is not as it seems, and steadily the sins of the past begin to resurface through a series of ghostly happenings.

A solid old-fashioned ghost story that is genuinely frightening without resorting to lashings of gore or cheap shocks, The Orphanage is the best horror film of 2007 so far and certainly shows Hollywood the true definition of suspense after the laughable '1408'. If you like your films dark and brimming with mystery then this is an absolute must-see.


I went into a screening of this today knowing only that it was about a woman who buys the home she lived in as an orphaned child, planning to open it to other orphans, that it mixed fantasy and reality, and that Guillermo del Toro of 'Pan's Labyrinth' had a hand in it. I didn't have any expectations. Even if I did, I certainly not have expected what I got. 'El Orfanato' surprised me first in successfully thrilling me with its surface, and surprised me again in how deeply it moved me with its core.

When Laura (the marvelous Belén Rueda) moves back into the house that used to be the orphanage she lived in as a girl, she is thirty-seven, married, and she and her husband have adopted a son - Simón, a little boy with HIV who doesn't know that he's terminally ill or adopted. Simón is wildly creative - he has several imaginary friends and a penchant for treasure hunts, mind games, and the story of Peter Pan. One day shortly after a mysterious visit from a social worker and Simón's revelation that he knows the truth about his adoption and illness, Simón disappears. The rest of the film follows Laura's desperate search for her son as she comes to terms with her loss and her own past as well.

Screenwriter Sergio G. Sánchez does a masterful job of balancing the thriller with the drama. Laura's attempts to connect with everything that haunts her and her home are darkly touching, though slightly psychologically twisted. The acting is strong, and the directing, editing, cinematography, and music all work together well. Some of the sound effects - the constant creaking, wind blowing, etc. - got wearisome as the film went on, and some of the thrills were a little cheap - I won't ruin it for anyone by revealing them - though, admittedly, they were effective all the same. The story dragged a little towards the end and during the scene with the medium - cutting it just a little shorter might have been equally as effective and easier on the viewer.

Bottom line: even if you don't like "scary" movies (like me), you'll probably still appreciate and enjoy the more thrilling aspects. If you're a horror flick buff, you'll probably find some of the thriller elements a little tired and overdone. Either way, it's still worth seeing - the exploration of Laura's heart and mind are both lovely and tragic to behold, and though the film is morbid, it is beautiful as well.


Laura (Belen Rueda) returns to the orphanage she spent time in as a child with her husband Carlos (Fernando Cayo) and little boy Simon (Roger Princep) in hopes of re-establishing it as seaside retreat for children with disabilities only to find there may be some former residents who never left. In Juan Antonio Bayona's tightly wound "The Orphanage" nothing is as it seems and child's play takes on sinister overtones.

Bayona belongs to this new wave of Spanish-language directors (most notably Del Torro and Amenabar) who excel when it comes to creating moody atmospheric tales of the supernatural with Catholic overtones. Whereas "Pan's Labyrinth" took a dark fantasy approach to a Passion Play, "The Orphanage" is closer to the classic haunted house themes of "The Others" as it attempts to give a sentimental view of life after death. Be warned, "The Orphanage" is often more sad than scary, and those not familiar with Catholic mysticism might find things a bit hard to believe. As goes the film's mantra...Believe, Then You Will See. Those with the patience and the heart will be greatly rewarded as the audience doesn't necessarily have to Believe to relate to the characters who do.

Working from refined "less is more" psychological horror templates, Bayona delivers the formulaic goods. There will be a simplistic but heartfelt exploration of grief. There will be allusions to classic literature (in this case a very nicely done "Peter Pan" as Catholic allegory motif). There will be uncovering dark secrets from the past. There will be precocious children with spooky imaginary friends. There will be creaking set designs and manipulative sound effects to create "gotcha!" moments. There will be a creepy medium (an excellent Geraldine Chaplin) brought in for a séance. And there will be a twist at the end.

Thankfully, there is also a great performance from Belen Rueda as Laura. She gives a compelling portrayal of a woman devoured by her loss and achingly desperate for the truth no matter how horrific that truth might be. One must have a cold heart not to find sympathy with her, and even the most hardened audience member will find it hard not to feel that stray tear form in the corner of their trembling eye when all is revealed. "The Orphanage" offers nothing terribly new, but sometimes the same old ghost story presented in a beautiful way makes for the best type of cold-rainy-day entertainment.


I'm a little bit tired of horror and suspense films. I had to get to the cinema because I could not say no to my girlfriend. Now I do not regret the wonderful evening I spent. This film achieved what others did not- I could not release my girlfriend's hand all over the time, and when the story finished I discovered there was nothing unexplained. A great suspense film I recommend. Belén Rueda, is a completely credible character and the place where the story has been shot helps make it realistic or, at least, the viewer gets into the environment created. The rest of actors are good and Geraldine Chaplin's scene is one of the most creepy I've ever seen


Laura returns with her family to the orphanage she grew up in as a child, she reopens it for handicapped children and all is going to plan until her son starts communicating with an invisible friend.......

Directed by Juan Antonio Bayona & produced by Guillermo del Toro, this Spanish picture is a delightful antidote to the ream of gore for gore sake movies flooding the market on a seemingly daily basis. This is not a horror movie as such, this is one of those pictures that oozes old fashioned values as regards telling a grand old ghost story with mysterious undertones. The setting is perfect, the orphanage of the piece is a ghostly monolithic structure that has all those perfectly shadowy rooms that are hiding secrets, expansive gardens perfectly framed in aura by Bayona's willingness to let the setting be an integral part of the story. The story is a creepy one, and there is always an added air of unease when children are the focal point of the piece in question, and sure enough this central concept of troubled children and troubled childhoods gets the maximum amount of emotion from the viewing public.

It's hard to write anymore than I have without delving deeper into the story and it's significant turn of events, suffice to say I feel this is a wonderful creepy, and at times beautiful, film that prospective viewers would be better off going into devoid of any prior knowledge. Belén Rueda plays Laura and it's a marvellous performance from her, full of emotion and guts, she carries the film with skillful ease. Bayona directs carefully, and it's evident that he is benefiting from the guiding hands of his gifted producer, but his marker is here and I'll be keeping an eye out for future efforts from the young Spaniard.

A smashingly engaging film that is in the vein of Robert Wise's The Haunting & Alejandro Amenábar's The Others, so if you like real well told ghost stories that unhinge rather than shock you, get in the queue because El Orfanato is a real pleasure. 9/10


The former orphan Laura (Belén Rueda) raises her adopted son Simón (Roger Príncep) with her husband Carlos (Fernando Cayo) in an old house and former orphanage where she was raised. Simón is HIV positive and tells Laura that he has five invisible friends, and she believes they are fruit of his imagination. Laura decides to reopen an orphanage for handicapped children in the location and during the opening party, Simón calls her to show the little cabin of his friend Tomás. The busy Laura does not gives much attention to her son; then she sees a mysterious masked boy and Simón vanishes. Laura feels the presence of other persons in the house and months later, the desperate Laura invites a team of parapsychologists to try to unravel the mystery.

"El Orfanato" is a creepy and spooky ghost story with a dark and very sad atmosphere. The screenplay, direction, acting and cinematography are great, disclosing a dramatic and sensitive plot that explores the disappearance of a young boy with touches of supernatural in the despair of his mother. However, the explanation of the mystery in the end makes this sensitive movie actually a drama, and not horror genre, and maybe that is the reason why some viewers have written bad reviews (or maybe they have not understood the plot). My vote is seven.

Title (Brazil): "O Orfanato" ("The Orphanage")


I am not much on horror movies. In fact, I'm known as El Pollo (The Chicken) when it comes to movies. For example, I hate movies which revel in violence: I would no more see "No Country for Old Men" than I would go quail "hunting" with Dick Cheney. Will I see "Sweeney Todd?" Sure I will -- just as soon as pigs fly out my rear end whistling the "Colonel Bogey March."

But I went to see "El Orfanato" because I gathered that it was more of a ghost story than a horror film, and that it was more of a thoughtful reflection on The Unseen World, like "Don't Look Now," or "The Sixth Sense," than a movie whose main purpose was to scare the bejabbers out of the audience.

And so it turned out to be. Which isn't to say that it didn't scare the bejabbers out of the audience! Several times.

The film comes from Spain, and stars Spanish TV star Belen Rueda as Laura. We learn that Laura was an inmate of an orphanage, that she was adopted away from the orphanage, and that she has, at the present time, returned to the old property with her husband and adopted child to create a home for neglected children.

This movie, like "Sixth Sense" (one of my all-time favorite films) is about love and death. In fact, I think they both share the same message, that is, that helping those most in need of help gives life meaning.

I enjoyed "The Orphanage," and I think you will too. If you just plain don't like being frightened in movies, then stay away. But there's no glorified violence and -- you know how the music builds and builds, more and more ominous, and the thing which is about to attack gets closer and closer? There is some of that, but mostly it's used as exposition -- it's when you're not really expecting anything that the director pushes the bejabbers button, leaving the audience chuckling -- like, "whoo -- THAT was a GOOD one!"

I think folks who like a good haunted house story will like this, and people who like a good love story will like it as well.


There is something to the marketing of foreign films and the way Hollywood tries its hardest to fool the public into thinking it is an English language movie. By not allowing any characters to speak in the trailers, giving away their secret with subtitles, someone like me, knowing it's foreign, is able to get a glimpse at the style and tone without really learning anything about the plot to ruin my surprise upon sitting in the theatre. This aspect worked perfectly for Guillermo Del Toro's production of El Orfanato. I had very little idea of what I was getting into and this film ended up being the best atmospheric horror I have seen since Alejandro Amenábar's The Others, (I don't count Del Toro's own El Laberinto del fauno because that was more fantasy than anything else). I now ask what it is that all three of these films have in common? With thisJ.A. Bayona's feature debuteach is helmed by a Spanish director. I can't think of a better nation making movies right now; the Spanish are doing everything right and this film just adds to bolstering that argument.

Bayona creates a mood and tone that keeps the viewer on the edge of their seats, anticipating the scares that they know will shortly be coming. I was actually surprised how slow the introduction was and how carefully laid out all the story pieces were. We are led into this world, discovering the relationships between our lead roles and the vague past of the orphanage that once housed our heroine and now is about to become her home for special needs children. Like The Others, the spirits involved here are not necessarily violent or demonic. They have an agenda, for sure, but what may at first glance seem malevolent could be nothing of the kind. The orphans now haunting the establishment are only trying to play a game. By taking something you love, a scavenger hunt is begun. Following the clues is the only way the game can end and if successful, the children will grant you one wish. The rules are simple, except the circumstances are far from easily accessible. One must believe that the game can happen before he/she can truly take part. Without the belief that the spirits are in control, success can never be achieved.

The cast is led by a remarkable performance from Belén Ruedawho, as it turns out, had a wonderful turn in Amenábar's latest Mar adentro. Her composure and beauty is shattered as she finds her son has been lost. Trying to keep herself together, taking in what the police, her husband, and the mediums enlisted to help on the paranormal aspect tell her, she is given the task to figure out for herself how far she is willing to go to find her son. Always captivating and never out of her element, Rueda carries the story and never looks back. The supporting players around her are all portrayed nicely as well. Fernando Cayo plays the husband watching his wife deteriorate before him while unable to open his mind to the possibility that what she says could be true; Geraldine Chaplin is magnificent as the psychic medium whose trance brings out a puzzle piece necessary to continue the game; and young Roger Príncep plays the child Simón with the right amount of innocence mixed with the knowledge and comprehension of his fate to help keep the bond between he and his mother strong.

Bayona never goes for the cheap thrills either as he builds up the tension with sounds and visuals. His use of the closing doors and the moving merry-go-round add a sense of foreboding that ends up being more important than you may initially guess. Stylistically too, the transition between the house's current state of duress with the way it shone by the glow of the adjacent lighthouse from the past is expertly handled. There were numerous instances where the film could have gone off the rails to tragic effect, but he holds it steady throughout. More psychological than visceral, the scares are few, but effective. Even when the grotesque rears its head, it is to enhance the story, not to shock for shock alone. The sound work is utilized to the fullest too. What seems to be jarring and loud for the purpose to scare our lead and us is actually very important to the tale at hand. Nothing is shown or heard here that doesn't have absolute relevance to the film as a whole.

The final third of the film comes quick and fully envelopes you into the proceedings. You are right there with Rueda's character as she slowly uncovers the secrets hidden behind the years that have past since she last lived in the orphanage. Whereas a film from Hollywoodof late usually being a remake from a better horror film in Japanwould use this tension in order to hide the flimsy and lackluster conclusion it tacks on so as not to alienate those viewers who enjoy leaving the theatre with a smile, Bayona knows how to effectively end his tale the way it should. I was blown away by the handling of the final scene and the way he used the rules of the game to transition us from one reality to another. It is truly a remarkable feat that hits home hard emotionally, but I will actually say also succeeded in me leaving with a smile on my face. Whether you exit the theatre with your eyes moistened or not, you will not forget the beauty and perfection for which it concludes. The tagline is correct, for while it is a story of horror, it is above all else a tale of love.


This film is less like a traditional horror movie and more of a drama/mystery with strong supernatural elements. The setup is that Laura, who once lived at an orphanage, returns to the orphanage with her husband and son to start it up again as a place for special needs children. Of course, it all seems simple, but there are mysteries abound in this story and the revelations trickle in over the course of the tale.

The film isn't particularly frightening, although it has a couple of jumpy moments. Rather than focusing on creating an atmosphere of fear, instead it works on drawing up sympathy for Laura's plight as events transpire against her and her family and the past comes back to haunt her. It's an interesting meditation on loss as well that had a wonderful potential to straddle the line between real-world and supernatural (but don't worry folks, it doesn't--it's firmly supernatural and you know it from early on). Nonetheless, that you could imagine this film working even if the supernatural elements were just in Laura's mind and that's a pretty good thing for the drama.

The technical aspects of the film are all sound (although I noticed a couple of background gaffs, but I think you'd have to look for them), with clear direction, capable lensing and design. The actors all do a good job of rendering their characters (children fare believably enough) and Belen Rueda carries the film well as the central protagonist. The story itself doesn't reach any great depths, but unraveling the mystery with the film is enjoyable.

It's nothing stunning, but in the world of horror films, it easily stands a shoulder above the regular flotsam that the genre tends to churn out. At that, it's no terrible film and could be recommended if you're looking for a relatively intelligent and well composed supernatural horror-type film. Just don't expect bloodbaths and constant shocks. 7/10.


Why is everybody giving so high ratings to this? Come on, the movie is absolutely boring! I'm not a hardcore horror movies fan, but I still enjoy watching one or two when there's something interesting to watch. Believe me, this is NOT one of those.

"The orphanage" is a long, boring, no-scares, no-suspense, and totally overrated flick that almost made me fall asleep. I could have forgive the story's lack of originality if its narrative or pace would have been good... But they weren't. However, there's no reason to panic because even if the script is bad, at least the characters and dialogue are very well done, right? WRONG. They are dull and very poorly developed. The mix didn't work at all and there were many scenes that seemed false or even ridiculous to me.

What more can I say, lately is a common practice for me to consult some IMDb users's reviews before paying any serious attention to some foreign flick I don't know much about, but the truth is... I don't know if that will keep being useful for me. I mean... Boy, I expected way, way more of this one. It really doesn't deserve all the good treatment that has received here.

The only two reasons for the stars I'm giving are the fine cinematography and the leading lady, who actually did a decent job with a bad material (well, at some moments). For all the rest... Better to forget.


Recent horror films seem more inclined to thrill than to chill. Such hits like "Dawn of Dead" and "I am Legend" are great movies, but their fear comes from intensity rather than dread. However, there have been a few good chillers out there, such as "The Others" and "The Ring." And now, "The Orphanage," from acclaimed Spanish producer Guillermo del Toro, creeps its way into their ranks, while still being a genre-defying film.

The story revolves around Laura, a woman who buys her childhood home in hopes of starting an orphanage for handicapped children with her husband Carlos. But soon their son Simón starts communicating with the orphans who used to live there. Thus, many spooky-doins' begin. And boy are they spooky. "The Orphanage" is certainly not the first film to use the "creepy kids" angle, but screenwriter Sergio Sánchez made the story original and engrossing enough to be wholly enjoyable.

One of the creepiest factors of "The Orphanage" is its sound design. The house contains plentiful creaks and groans, which seem to come standard in all haunted houses, but the real frights come from the music. As well as being ambrosial to the ears, it has the power to induce an assortment of emotions. It can bring a tear to your eye, or make you cramp up in your seat from suspense.

But the real enjoyment comes from the acting. Horror films are known for having some of the campiest acting out of all the film genres, but "The Orphanage" is one of those rare gems where the actors are so great they make you think, "Yeah, maybe they really are experiencing supernatural phenomena." And Kudos to Belén Rueda (Laura) for having the most range and believability in the entire movie. Her performance transcends the language barrier and makes you forget you're reading subtitles.

To round out the film is the cinematography, and if Guillermo del Toro is involved, you know it will be stylish to the max. The manor-like orphanage is not the typical run-down creepy haunted house. It isn't so much haunting as it is hauntingly beautiful. And each of the places around it follow, suit such as the beach and the playground. Each scene is so elegant that it can be incredibly terrifying while still being gorgeously shot at the same time.

Of course, "The Orphanage" isn't perfect. One of its weakest points is that it is a bit cliché. There are a bunch or creepy kids, there is a medium that contacts the dead, and, gosh, does that house ever shut-up? But with all that aside, "The Orphanage" is still a classy and mysterious haunted house movie that will keep you guessing (and screaming) until the end. Do yourself a favor and go see this film despite the subtitles.


I happened to be in Denver on business and the Denver film festival was in full swing. When I found out this film was playing at midnight on my last night in Denver, I jumped at the chance to walk 20 blocks one way (and in November) to see it. I was not disappointed.

I was not impressed in the beginning because the film seemed a bit derivative to me. I mean, just how many ghost stories concerning children are there? And with imaginary friends, too? I was thinking "Amityville Horror", "The Shining", "Wicked Little Things", et al ad nauseum. But, boy was I wrong! There are entire sequences that are reminiscent of classic fright films: of course the boy with imaginary friends, as mentioned above; but also a psychic and her entourage right out of "Poltergeist"; there's a death I've seen before as well, I think out of one of the "Final Destination" films; and of course, the general outline--a ghost story set in an orphanage--is vaguely reminiscent of Guillermo del Toro's own "The Devil's Backbone". All the ghostly trappings we have come to expect from classic fright films are there as well, from mysterious noises and bangings to ghostly visions. I'm not saying that this film ripped off any other film; on the contrary, it was great fun recognizing all these classic fright moments, and they weren't done in an homage type of way--they stood on their own.

I can't tell you the last time a film made me jump. It has been a long while since I've attended a film that made the entire audience jump. This one does it not once, not twice, not thrice, but several times. It is spooky and atmospheric in places, it has some jump scares, but it also has some out-and-out scares that are guaranteed to get to you, no matter how hard-core you think you may be.

I do have to say that I guessed early on what happened in the end. I didn't know exactly why or how, but I did guess the cause of the haunting. I don't think it mattered, I don't think it was being hidden. I think it was obvious that the orphanage was haunted because of some terrible past event involving children (why else would you call it "The Orpanage"?!). But the reason behind the event was solid and the way the protagonist finds the information is cool. Besides, wasn't it Alfred Hitchcock who said that it isn't the bomb under the table that makes the scene scary, it's the fact that you don't know when it's going to blow up that creates the tension. So it didn't matter that I understood early on WHAT had caused the haunting.

And finally, the ending is bittersweet. It isn't a typical American ending in that everything is wrapped up and presented to the audience with a bow. It isn't a sanitized ending, and it isn't necessarily a perfectly happy ending. I like that. It seems more real to me. I hate the fact that we Americans tend to want a sugary sweet ending so we can walk out and smile about the film without any more thought given. In fact, the last American film I can think of that didn't deliver the sappy ending was Sandra Bullock's "Premonition", and it flopped at the theater.

Another film that I would draw comparisons to is Kevin Costner's "Dragonfly". It is similar in theme in that it is pretty creepy and scary until the end when you have some resolution for the protagonist, but not a typically happy American ending--a bittersweet ending, much like "The Orphanage".

Overall, I truly enjoyed this film. It was spooky, it made me jump, it was fun, and it had a good ending. I hope the director makes more like this.


The Orphanage is a very well made, good old fashioned horror. It tells of a woman called Laura (Belen Rueda) that returns to the abandoned orphanage where she was raised, with the hope of re-opening it for a new generation of children. During the course of the film Laura's child goes missing and she is forced to shelve her plans of re-opening. The event compels Laura to spend more time in the house hoping that her child will return and results in her confronting her sanity. In sticking to an old fashioned premise the films employs a various amount of techniques and methods commonly attributed to films of this genre. The highlights being the big old house, creepy visitors, strange occurrences and things that go bump in the night.

It is quite conceivable to think that any film that utilises such clichés and generic scare tactics is doing nothing new and can be dismissed as being unoriginal and possibly unimaginative. To the contrary, in bravely addressing the very routes of the genre the director, and writer, have produced a masterpiece in contemporary horror. The film is an excellent rendition of the classic bedtime horror story, told with atmospheric direction and brilliantly placed plot occurrences. It is an emotional film that reaches to the very heart of fear whilst re-establishing the genre in the minds of contemporary cinema goers. The Orphanage is film that is intelligently made and will go on to become a definitive horror film, much in the same way as Jacobs Ladder, Don't Look Now, Rosemary's Baby and The Sixth Sense  all films that carry similar themes.

Those that aren't familiar with those previous films or wish to have their thrills in the form of Saw or Hostel will no doubt find The Orphanage tame and those that get their kicks from Asian horror (Gin gwai, Ringu etc) could also feel begrudged. In a disagreement with these films The Orphanage doesn't allow itself to be drawn into using one scare technique and continuously exploiting it throughout, nor does it prey on teenage anxieties or irrational fears. Instead the film embarks on a much more intellectual (and bold) approach and investigates one of the most basic primeval fears, that of losing a child. In exploring such a fear it is only fitting that all the characters be played well, and they are. Their fall from grace and their reaction to the events are brilliantly complemented by the well directed and paced plot. The timing of the scares and the execution of them are also done to perfection. All of these qualities add up to the film being a refreshing experience that, consequentially, sticks two fingers up to the recent and predictably made horror films churned out by Hollywood (1408, Vacancy etc).

Ultimately The Orphanage is an encouraging debut feature from the director Juan Antonia Bayona and shows a lot of potential. The film is dark, mysterious and harrowing like Guillermo del Toro's Pans Labyrinth - which also has child at the heart of the film. Both films also drive home the extreme capabilities of imagination and dissolution.The film is presented by del Toro and, in much the same way Tarantino presented Hostel, there is no real direct evidence of his efforts on the screen. Instead The Orphanage is more of a continuation of the style and characteristics associated with his film-making. Those that, like me, have been pining for a classical contemporary horror should look no further than The Orphanage.


This movie has already been compared to way too many classic and well-known contemporary horror films. That's because it's a classic story. A woman moves into the haunted house of her memories, discovers ghosts and a mystery, starts working it all out while a cynical husband states that it can't be real, and eventually resolves the pained past of what causes the haunting in the first place, thus leading to transcendence. There are creepy children, bumps in the night, and an old woman with shady motivations. It literally couldn't go wrong.

And it doesn't. J.A. Bayona gets the help of famed Pan's Labyrinth director Guillermo del Toro to float, move, and explore his way through dusty rooms, hidden basements, and creepy hallways. Belen Rueda plays a caring, compassionate mother who only wants to protect her son, though she makes mistakes that sometimes a mother makes. Creepy ghost children play hide-and-seek and treasure-hunt games, ultimately leading to a compelling twist. This movie is carefully designed and even holds a few surprises.

Whereas it may not be the most original movie out there, it certainly has its place for an audience craving a good old fashioned horror movie themed around something other than idiots trapped in a room full of intricate torture devices. It's a very nice return to form, and it's probably something you should see before the grubby Hollywood execs put their dirty paws on it and turn it into a CUTITSACAT! glurge-o-mania.

--PolarisDiB


El Orfanato (the Orphanage) is a very good movie. It has been a long time since I have seen a good film in this genre. The genre ghost stories I guess.

The story is somewhat difficult and complicated to bring it down to a few sentences. In short I could say it's a story about a couple and son who live in a large mansion. One day the son goes missing and the couple start searching for him. It's important to find him soon since the boy needs medication. When everything fails, they call upon a medium. Then they find out about the horrible truth of the mansion's past...

The acting is definitely worth mentioning. It's solid and believable. I really liked the leading character, Laura. A very caring mother who tries everything to find her son back. It's truly heart-breaking.

There are some very good, sometimes scary, scenes in this movie. Although the major part of the movie is mystery, not pure terror. Slowly yet surely you find out exactly what has happened in that mansion.

And then there's the really good ending. Just go watch the movie and you'll find out in what way it is a good ending...

El Orfanato (the Orphanage) is truly a worthy watch. Highly recommended for fans of ghost and/or mystery movies. 8 out of 10 stars!


I would have a hard time classifying El Orfanto as a horror film or a fantasy film since it brings in the best of both the worlds. The story moves along gently and lets the pieces of a puzzle fall into place with time. The direction and the screenplay was flawless and suit the pace of the movie. The entire mystery is portrayed through the eyes of Rueda and she does the job superbly as a protagonist. For a film involving spirits and ghosts I was expecting a lot of off the wall scenes. At the end I felt none of the scenes were induced and every scene was required to solve the pieces. This is a mark of a genius for a debut film maker like Bayona. 8/10.


The orphanage is a chilling tale that i watched with friends and family. I found that it was captivating to say the least, i immensely struggled to take my eyes of the screen at any moment at fear of missing a vital addition to the plot. The reason for this fear was due to the simple fact that there are lots of tiny clues which eventually all come together to conclude the film. There were so many twists and turns that at times the film is hard to follow and events seem randomly placed, however as the film progresses all secrets are slowly revealed. overall unfortunately there are some facts that remain to be a mystery but i will allow you to watch it and decide for yourself. overall a very gripping film that has been very cleverly made.


The story concerns Laura, who has returned with her husband Carlos and adopted child Simon to the large manor where she was raised in an orphanage as a child. Laura is determined to fix up the abandoned house and open it as a refuge for ill children. But from the moment she returns, the past begins to haunt her. It isn't long before she begins to see the children who she used to play with as a seven-year-old. And when Simon goes missing one afternoon, she's convinced that they have taken him hostage.

THE ORPHANAGE is a refreshing horror movie. This is due to the fact that the film doesn't rely on scary CGI images nor cheap scare tactics. On top of that, little, little (little) blood is spilled in this chilling ghost story. On the contrary, the film relies on its characters, the atmosphere, the setting, and (let's not forget) a satisfying plot.

What makes the film work is of the performance by the lead, Belén Rueda, who does such a great job playing the whole "what's real/what isn't" act. I believe this is Juan Antonio Bayona's directorial debut and he does a fantastic job. I'm looking forward to see more of his movies in the future. Also, I would like to add that the score was great as well as the beautiful cinematography.

By the end, when the truth is revealed, it's satisfying but it has been done before in other films. It's a different ghost story and I have to stress the "different." It doesn't have the usual "Boo!" scares or ghosts in creepy make-up. The film allows the characters to develop so we care for them and a creepy atmosphere in a great setting. THE ORPHANAGE is a refreshing horror movie that is pretty unconventional.


Horror films are few and far between these days; in fact it's almost a dead genre in the west. Gore and torture pornography centred films like Saw and Hostel seem to have stole the foundations of horror and instead of focusing on truly scaring people through suspense, meticulous direction and script, these films focus solely on shocking people. Now, I'm all for shocking people in horror films; it kind of comes with the territory, but this is not solely what horror is. I usually regard a horror film as successful when a certain feeling or scene stays with me for a day after seeing it, if it can indent the terror, maybe even play with your mind after viewing it, the film has done its job. Therefore I now look to Asia for my horror because thankfully they still understand that while the genre must progress, it must also still scare. However, with the release of The Orphanage it appears I should also keep my eye on Spain. When first looking at The Orphanage's plot outline I was less than enthralled, in fact I almost didn't watch it. I've never liked haunted house films, even The Shining failed to impress me, which is seen as one of the best horror films of all time by most people. Due to this I almost passed this film up, but I'm glad I didn't because I've finally found a haunted house film that I not only liked but also could sincerely call horror. After saying this, even though in my mind this is possibly the best haunted house film I've ever seen it is still just that, meaning do not expect to watch this film and see it completely redefine horror because it doesn't.

The plot has been done many times before and many of the characteristics of previous films find their way into this one. It tells the tale of a woman named Laura, who as a child lived in an orphanage for a number of years before being adopted. At thirty seven she brings her family back to her childhood home in hopes to turn the now abandoned house into an orphanage for the handicapped. Her son's innocent games with imaginary friends soon develop into something more serious and disturbing and everything starts going a bit strange Have you heard this one before? I'm sure you have, as you probably guessed the story involves strange paranormal happenings, ghosts, creeks in the floorboards and numerous other elements seen before. But even though you realise this while watching it, the knowledge that your watching a 'haunted house' film washes away and the film completely draws you into its story and world. This is done by taking everything about the genre that works well and simply focusing on making these elements the best they can possibly be without complicating things too much. For this the first time director Juan Antonio Bayona should be given huge credit. The film is perfectly paced, with the exact right amount of time spent at the beginning introducing the characters and making sure the audience is firmly rooted in Laura's character so that we experience everything with her as the film progresses. Due to this fine beginning everything in the film works much better for it, the scares have greater impact because we care what's happening to Laura and unlike some films they don't come at you in rapid succession. Like in a comedy where the joke is built up to the punch line, the scare is given enough support before scream moment and even though a lot of them have been done before, these ones actually genuinely scare. With there only being one location really used in the film, it appears the filmmakers had the time and resources to focus on using the house to create a natural atmosphere. Instead of showing off clever CGI effects and as much of the horror as possible, they opted for the subtle approach; creating suspense with excellent lighting and diverse camera work. This gives the film a more mysterious, realist feeling that helps make the film world that much more believable. One film you could quite rightly compare The Orphanage to is 2001's The Others. It has a very similar plot and almost the exact same setting, but for some reason it never affected me. This could be down to many reasons, but after watching The Orphanage I think the acting had a lot to do with it. Belén Rueda's performance as Laura is quite simply excellent. Like the direction she displays all the normal characteristics of a character, wrapped up in a surreal story during the course of the film; bewilderment, fear, insanity and all the other emotions a character must go though. But the reason why you care about her and feel so connected to her throughout the film is because she plays a mother perfectly. There is nothing more important to her than her son and she displays this so convincingly that when the end of the film hits, the affect of the conclusion resonates that much more because you feel the emotions that Laura feels.

All in all The Orphanage is one of the best horror films of recent memory; it takes the 'haunted house' device and uses it in a way I don't think any other film in recent memory has. The directing is a triumph and has great help from superb acting by Belén Rueda and a mature understanding of how to craft a horror film. The only real negative of the film is its complete lack of originally, which is unfortunate, but it does give you a top quality representation of what it borrows from. Therefore if you can get passed this flaw and you want an atmospherically rich, well-paced, scary horror film then this is you best bet for modern cinema.


Many movies inhere some kind of "duality" of meaning. There's what you see... and there's also what lies beyond. "El orfanato" (2007) is a picture successfully playing with this matter, putting it into focus.

While watching it you'll start to wonder... will there be some real explanation... or something else. Is the protagonist losing her mind... or is she right. What happened... and why ! Are you willing to believe in ghosts ? Or are you seeking for the real ? Either way you'll be able to experience this interesting Spanish/Mexican picture by J.A. Bayona in a different way !

The second fascinating thing to strike me in a positive way was the terrific interplay of sound, music and images. A frightening fusion. Music suddenly stops...voices appear...sounds... after a while I wasn't all too sure any more whether the sound was coming from the movie... or from outside... not a nice experience during a movie like this one ;).

So after all I clearly recommend "El orfanato". It's a wonderfully written, acted, visualized and directed deeply frightening horror drama. Perhaps one of the best of its kind and if you enjoyed "The Others" I'm guessing you'll enjoy that one too !


This was probably the best movie I have seen in a long time. It was definitely a psychological thrill. Everything was perfectly crafted, and all tied together in the most fantastic way. A movie done similarly could be The Ring, or One Missed Call. Each ties all the little seemingly meaningless details together into a beautifully crafted horror movie. Most horror is pop out scares, or slashers, but this movie is among the few that is genuinely creepy. The characters are deep and come to life on a screen, they all have their own psyche state, and this movie is very believable. Currently I have been on a Stephen King movie rampage, and while they are creepy, I haven't come across one where all the details tie together as masterfully. They are definitely scary, due to SK's exquisite writing, and ideas, but most of them have less of psychological ramifications, that a movie like the orphanage. I absolutely loved The Orphanage. Appologies if some of this isn't coherent, I am watching 1408 while typing this submission.


The Orphanage (2007) - directed by Juan Antonio Bayona and produced and introduced by Guillermo del Torro whose ghosts films El Espinazo del diablo and Pan's Labyrinth most certainly were the inspiration for the first time director. The films "The Others" and "The Stir of Echoes" also come to mind, as perhaps, Friday the 13 and the story of Peter Pan which may be the main inspiration for the film that looks at the story of the boy who never grew up and stayed in Neverland from the point of view of his mother. The orphanage is unsettling, scary, very moving and intelligent. It does not show the monsters, it implies. It makes us to identify with its main heroine, the orphan herself who after many years comes back to the very house she used to share with her childhood friends, also orphans and where she wants to open the house for the handicapped children. Little did she know that the old house has deep and horrifying secrets that may affect her life, sanity, and the lives of the dearest and closest to her. Very good film, creepy, and heartbreaking. The final moved me to tears.


Well,i watched this movie first reading on IMDb as to what a masterpiece it it.and i must say Am not Disappointed at all but inundated by the amount of effort put in to make such a classy piece of cinematic experience.

The movie talks about woman coming back to the orphanage where she has stayed,to recreate an environment for needy kids.her son is affected by a terrible disease,his son keeps telling about the invisible friends of his??but who are they??what do they want???you must watch the movie for that??don't wanna spoil it for you!!though it would seem the movie is inspired from greats like poltergeist etc.but there is something different which leave you in awe.

Take my word you must watch this won't be disappointed at all for people who like atmospheric horror rather than the gory kinds!


Laura used to live at this orphanage and when she grows up, she starts to prepare it for some disadvantaged children. She adopted a boy, Simon, with her husband Carlos. Simon has some friends that are not real and at first Laura plays along with it but there comes the ghost story. The first part of the movie is slightly scary but as the movie goes along and things happen, this movie turns into a huge mystery.

No one knows what happened to Simon but when the truth is revealed, it comes as somewhat of a tragedy. I really liked the scary scenes and they weren't too sick, macabre, or heart stopping. The scenes were just perfect and they blended right into the whole mystery. I think that this is a mystery and a horror movie at the same time.


There isn't much to say about this film, you MUST see it!

If you, like me, loved El Laberinto del Fauno this is an awesome choice!

It was chilly as hell and really good script! I must admit though I didn't get any chocks but I didn't get that either when I saw the Exorcist so don't be surprised if you get scared! The story told is generally about a mother losing her child and her fight to retrieve him. You come to see some extreme situations that she is going through (some of them almost suicidal or might drive one crazy) in the belief that her son is still alive and that there is a way of getting him back.

Anyway I'm not going to spoil this masterpiece of Spanish horror so GO SEE IT!!! It must not be missed! It's B-E-A-U-T-I-F-U-L!

enjoy the magic of the orphanage...


This is an incredible film. Not only is it a near perfect visualization of something quite complex, the Faulkner literary style, but it shows Robert Duvall to be the genius that he is. His style is so understated that you might not realize that he is one of the two or three greatest actors alive, but this film will nail that reality home for you. "Tomorrow" is a heartbreaking story set in the deep south a generation after the Civil War, and the tiny sad tale of a man and a woman and their child. It is a tale of profound love felt by people who cannot eloquently express themselves in words due to their social circumstances, but speak volumes with their actions. And so does the film. Shot in a very modernist style, there are long pauses, long glances, uncomfortable silences, all just like real life. And the effect, in this case, is brilliant. I am proud to say that I have, in my life, known a few people like the people in this film, and I can tell you that the portrayals are precisely right. The costumes are flawless in their detail. (Duvall's shirt is held shut with a safety pin, a tiny detail that my grandmother noticed immediately as the way men used to do it when the button fell off - she saw it hundreds of times as a girl in the 20's.) I could go on and on, but if you have any interest in Faulkner, or the South, or post Civil War culture, or the human condition in its most effecting moments, you really owe it to yourself to see this little gem of a movie. You absolutely will not be sorry.


This movie predates some of Duvall's more critically acclaimed and popularly received turns, but in truth, this may be the finest acting job of his career. Duvall is this film, and he has made this kind of intense, honest character study his own (Tender Mercies, The Apostle, The Great Santini). The black and white cinematography is perfectly suited to the story and the acting. It works as a far more honest story-telling device than Spielberg's "Schindler's List." This is a must-see for Duvall fans and for fans of small, independent films as well.


In my opinion, Robert Duvall's performance made this story into a believable movie, and turned his character into a man of understated strength, and an admirable person. He managed to capture the mannerisms, accent, and speech syntax of his character and the region to the extent that the other actors' otherwise good portrayals appeared out of place. I'm not sure that I would have seen the movie, had I read the story first; however, having seen the movie, I want to read the book.


A lonely sawmill operator in the Mississippi Delta, Jackson Fentry, assumes the responsibility of caring for a fleeing pregnant woman. He falls in love with her and pleads with her several times to marry him. She finally relents after the baby is born. He then cares for the baby as his own child and they become very attached. When the child is three or four years old, his unsavory uncles and mother's family come and virtually kidnap him. Fentry is devastated but goes on with his life. Years later he refuses to vote guilty while a member of the jury in murder trial, and this story explains why.

Faulkner is so tied to place that most attempts at filming his works fall short of conveying his intent. Tomorrow, however, really does look right, and only The Reivers has conveyed as much sense of place. Duvall's sensitive performance is played off perfectly by Olga Ballin's Sarah. She is whimsical without being fey and tragic without being lugubrious. Duvall's accent is a little trying at first, but once you listen for a few minutes, it resonates as the only possible way his character could express himself. The grinding poverty of the rural South from 1865 until after World War II comes across vividly. The tableaux depict the stark dignity of these sharecropper's lives as eloquently as Let us Now Praise Famous Men by James Agee and Walker Evans. Duvall has a right to be proud of this performance.


There are a few times when you discover an actor who just gets the characters right. The Col. in Apcolypse Now is very real (I was a Marine). Gus in Loansome Dove (I was raised by cowboys). The lead in Tender Mercies (my cousin is a country western star), etc. In this hard to find film you will see a great actor Duvall at his early best. A great author who builds a penetrating study in Faulkner. A great screenwriter play-write director Foote (who worked many time with Duvall and knows how to show him at his best). These all come together in a very special way. A film that is for actors and people who get it... not for the masses(may think it moves slow). This is a file for folks who see the little things that make craft Art. I Love the film and the black white works perfectly.


Based on a William Faulkner story, this movie has the dark, gloomy, but realistic look of his work. The art direction, lighting, and costume design shows that this is a low-budget film, but it doesn't make it corny. In fact, this adds much to the authenticity of what the South was like in the late 1800s. In addition, the film is in black and white; this helps make the depressive mood of the story.

Like much of Faulkner's writing, the film is done in flashback form. It opens with a murder of a young man and the trial of the man who committed the killing. It then goes back twenty years earlier to a poor, Southern farmer, Jackson Fentry.

Robert Duvall is simply wonderful as Fentry, a man who is cut off from most of the world. His character is lonely but yet a naive and caring individual as he finds an ill pregnant woman (Olga Bellin) while working on a farm as a caretaker. He takes her in and cares for her. Everything seems normal for awhile, but then two tragedies happen they lead up to the present opening of the film.

Everything is tied in together nicely, making a great, yet sad ending. It brings up the questions: Which is better for a child? Heredity or environment? This sounds like an excellent film that I would give a 10/10. But what made me give it a 7 was the pace. The movie was incredibly slow. This is no action, and I knew it wasn't one, but the dry, drawling, Southern monotones that the actor's spoke made it boring.


I saw this film for the first time over a week ago and can't get it out of my mind. I was not familiar with the story nor had I ever seen Robert Duvall in such an powerful but understated performance. At first I wondered if I would like the movie but soon found I could not take my eyes off the screen. It was like being transported back in time to a place I've never been, and was watching this story unfold as if it was actually happening right in front of me. Robert Duvall was amazing, absolutely stunning. The story says so much about love and how important it is for all of us. Watch this movie...it is riveting and such a great story!


This is a very down to earth film story written by William Faulkner concerning a cotton farmer named Jackson Fentry, (Robert Duvall) who lives in the South and he is a poor person but also works as a watchman over a saw mill during the Winter. One day Jackson goes outside and hears the sound of a person in distress and discovers a woman, Sarah Eubanks, (Olga Belin) who is pregnant and he decides to help her and he takes good care of her. As the picture moves on the story becomes quite interesting and you will never be able to figure out just how this great film ends. The pace of this film is very slow and the actor Robert Duvall creates a great Southern accent and speaks his lines with a real Southern drawl along with a great actress, Olga Belin. Enjoy.


It's always interesting to see a movie from a play. This one made me wonder how the intimate, brooding mood of extended silences reached across the stage into the audience, but it certainly works on film. The Netflix blurb prepared me for a depressing experience, but I came away with a sense that I had spent a few years in a world that is thousands of miles and hundreds of years from my own. The characters have a limited range of expression, but what they feel and say is consistent and almost meditative. Yes, there is tragedy, but the gift of a film that opens a window on deep experience is that you are uplifted rather than let down. A nice little movie that makes me so grateful for DVDs.


Like other reviewers, I was going to avoid this movie within the first few minutes because of its austere quality. Black and white, gritty, bare-boned filming and direction looking at awkward people in a strangely quiet way.

A scraping by man that is one step away from Adam in implements scratching out a living suddenly comes by an ailing pregnant woman who he befriends and keeps alive by stretching the tight shoestring he's already living on, taut to its limit.

But then, as the story unfolds, you realize it HAD to be shot in black and white; it had to have that raw, gritty quality. That's the nature of the story. That's the power of it.

I agree, too, with other reviewers that if (as some of us have been theorizing) the woman and her child were written to be Black, that would bring several new levels of poignancy to every aspect of the film. And you can read that in as you watch and appreciate those nuances for yourself though they're not spelled out in the film.

I also had the strange thought while watching of how great it would have been to have Johnny and June Carter Cash playing the leads, since this film was made in their heyday. But that's just me.

Yet even as it is, this is a rare piece of coal that under the pressure of tough times shows itself to be a diamond. Not to be missed.


What zetes said. The movie is on TMC right now, chugging away in all earnestness, well-meaning and clueless as how to show really real reality. The directing all artsy lugubriousness. It's a mashup of the latest (as of 1972) method acting chops, 50s lung-heaving melodrama and trendy Euro bleakness.

Nobody behaves the way people so in this film. No one, backwoods or anywhere, talks in one halting monotone and walks only at one lumbering speed. Real humans speed up, slow down, cheer up, pipe down, loosen up, get down.

Maybe Tomorrow is a useful Before/After teaching tool. Duvall shows fearlessness, eagerly wrapping his glottis around some stupid Hollywood-hick accent. It's the fearlessness he would use to be among that exclusive crew who, in a way, solved Actor's Pi. They finally found the near-mystical ability to transform themselves on screen at what seems like the DNA level.


This forth and final series is perhaps the best of all the Black Adder episodes; it is also more of a tragi-comedy than just plain old slapstick perhaps because at the time (1989) the events of WW1 were very much in the minds of a lot of people, whether it be surviving soldiers or relatives.

As such there was some controversy when it was first broadcast by the BBC for its apparent lack of respect to those who fought and lost their lives for the sake of freedom & democracy.

However, in retrospect, this isn't strictly true because even with Episode One there is a tangible shift in tone from previous Black Adder series. Yes some of the slapstick tomfoolery is still there, mainly at the expense of poor gormless Private Baldrick. But in addition a lot of the supposedly funny lines do have quite serious undertones, and bely the real truth of the sheer lunacy & farce that went on during the real war.

For those that know their 20th Century history, WW1 was seen as a complete disaster for all and sundry, especially for the British soldiers in the trenches, primarily because they were being commanded & told how to fight a war by the most repulsive upper-class morons that call themselves Generals that ever wore a uniform.

This was plainly represented by the bumbling fool, General Melchett (a wonderfully bemusing performance from Stephen Fry). Melchett simply has no idea of what life really is like for the troops on the front-line while he prattles on 35 miles behind the front-line in some safe palatial mansion where the most dangerous hazard to his life is whether he can unscrew a cork out of a champagne bottle without it hitting him in the face.

Melchett is a complete buffoon but only Captain Blackadder realises this; everyone else thinks the General knows what he is doing purely because of his rank & social standing. So it is no wonder that Blackadder wants to mutiny because it's a hard choice deciding who the real enemy is - the Germans or his own Generals.

For example:-

General Melchett: Are you looking forward to the big push?

Private Baldrick: No sir, I'm absolutely terrified.

General Melchett: The healthy humour of the honest, Tommy. Don't worry my boy, if you should falter, remember that Captain Darling and I are behind you.

Edmund Blackadder: About thirty-five miles behind you.

This dark humour is wonderfully interwoven with the usual witty lines thanks largely to the writers, Richard Curtis and Ben Elton. It is typically anti-war but with good reason, as Blackadder declares in one episode:-

"with 50,000 men being killed every week who is going to miss one dead pigeon!"

The madness of this war also draws our attention to those very same front-line troops such as Blackadder, Baldrick & Lieutenant George. Their living conditions are disgusting & the fear of being shot or bombed out of their trench a very real possibility.

The humour is just an adjunct to the real horrors that are going on in their lives, and this is beautifully concluded in the very sad finale. No longer did the critics argue this series lacked any respect because come the final few minutes of Episode Six we were treated to the sad demise of all those soldiers fading into time and replaced by the infamous poppy fields that strewn Northern France.

Blackadder Goes Forth is far more intelligent than a lot of sitcoms; the writing and acting is exceptionally good, and also underpins the true human sacrifice the millions of soldiers gave to their King & country while the smug & arrogant Generals went home to more medals, honours and riches than ever before.

School children of today find reading about history boring & not very relevant. But thanks to this series I am sure young & old alike will find this far more interesting, absorbing, damming & shocking than any written word on the subject could ever say.

War Is Hell!

****/*****


While I can think of plenty of WWII comedies, comedies about WWI are few and far between. Okay, there is Chaplin's Shoulder Arms, but then I fail to think of anything - apart from these glorious 6 half-hour long pieces of British Comedy. There are reasons for this scarcity, most notably that hardly anything happened during the war, except that millions of soldiers died in their muddy trenches. Not much room for a comedy writer to get his teeth into, is there?

Well, watch this and you'd be surprised how much one can squeeze out of that setting. The main angle is the absurdity of it all, which our hero, Edmund Blackadder, is fully aware of. Alas, he's the only one and so his cynicisms and sarcasms remain undetected by the other characters. The highlights of the series are thus Blackadder's one-liners (well, often a bit longer than one line).

If you have grown up watching TV comedy US style only then you may find the conclusion of the series rather disturbing.


BAFTA winning Rowan Atkinson returns as the nasty and very cunning Edmund Blackadder, this is the last series in the popular sitcom. But don't worry, there's Back and Forth! This time we are in the trenches of World War 1 with Captain Blackadder, Leiutenant George (Hugh Laurie) and Private Baldrick (Tony Robinson). Blackadder is always trying to get out of the war in any way possible with the (useless) help of his thick friends. General Melchett (Stephen Fry) and Captain Kevin Darling (Tim McInnerny) are making sure he stays there for the big push. The series concludes with the teary 'big push', it was number 13 on The 100 Greatest Tearjerkers. Throughout the series there are some stars to look out for including: Rik Mayall as Lord Flasheart (who appeared in series 2, Adrian Edmondson as Baron Von Richtoven, Gabrielle Glaister as Driver Bob Parker (Bob also appeared in series 2, Miranda Richardson as Nurse Mary (appeared in series 2 and 3) and Geoffrey Palmer in a special appearance as Field Marshal Haig (in the last episode). It won the BAFTA for Best Comedy Series. Rowan Atkinson was number 18 on The 50 Greatest British Actors, he was number 24 on The Comedians' Comedian, and he was number 8 on Britain's Favourite Comedian, Edmund Blackadder was number 3 on The 100 Greatest TV Characters, and he was number 3 on The World's Greatest Comedy Characters, and Blackadder (all four series) was number 2 on Britain's Best Sitcom, and this series was number 16 on The 100 Greatest TV Programmes. Outstanding!


Blackadder and in particular "Blackadder goes Forth" is my all time favourite comedy series. I can watch it over and over again and even quote the lines before the actors do. Favourite line being Baldrick saying "I could go on all night" and Blackadder replying "Not with a bayonet through your neck you couldn't".

All the performances are terrific and each episode is fantastic. I know at the time people were worried about the subject matter. But it was handled with great sensitivity, especially in the last episode.

The previous series had always ended with the death of the entire cast but in a comedic fashion. This was was different. The way each character started to become aware of what was to come and for the first time start to be afraid was just wonderfully done and the closing scene has got to be the best end of any series ever.


My first real introduction to WW1, began in 1964. That year the BBC broadcast a 26-part documentary detailing the outbreak and progress of this, 'The Great War'.

As a teenager, I sat mesmerised, as the voice of Sir Ralph Richardson narrated in harrowing tones, failure upon failure in tactics and strategy with no other result than monumental casualty figures. Ever since then I have been 'hooked'. Here are some figures: just the first day's 'Battle of The Somme' resulted in a loss of almost 60,000 British soldiers. Some 20,000 were dead. That is one third of the number of Americans who died throughout the entire Vietnam campaign (and just look how many movies have been made about that). The 'Menin Gate' at Ypres commemorates the loss of 56,000 men. But they didn't just die; they vanished. The population of a small town were completely swallowed-up by the fury. And this is only one of many such monuments. Numbers like these compel you to stop - and think.

The multinational disaster that was WW1 has been shunned by politicians and media alike. The only good thing to be said of the conflict is that it stopped. And it had to; the nations were completely drained of money and men. Ever since, it has been a military bete-noir of history. Nothing was accomplished but failure and nothing created but innumerable corpses. There was no victory, no triumph of good over evil. Even the enemy was obscure. It was a holocaust of good intentions. The war became a machine that simply ground youth into the mud. Appalling bloody battles like those of WW2 at least had a positive outcome. D-day, Iwo-Jima, Monte-Cassino, all eventually led to unequivocal victory. Each presented an opportunity for national pride and manly courage to be heroically presented on film. But not 'The Great War'. Apart from 'All Quiet On The Western Front', it has been left well alone.

'Blackadder Goes Forth' then is not only one of the most hilarious comedies written - better than 'Mash' if you consider the contrast between its scope and its brevity - but it is also a fitting tribute to all those poor souls who toiled and died and were lost.

'The team' handle their subject perfectly. Rowan Atkinson plays the knowledgeable and cynical middle-ranking officer. He is not a coward; he can see what's happening and just wants out. Tony Robinson, as Private Baldrick, embodies the millions of 'Tommies' who struggled in ignorance. Hugh Laurie plays the lieutenant with unquenchably boyish faith in his high-command. Stephen Fry - literally - is General Melchett, the remote, pompous, arrogant buffoon, touched with insanity. Tim McInnerny plays the role of a staff-officer, aware of, but indifferent too, the consequence of futile strategies. Until he is ultimately forced to confront them in the last episode: 'Goodbyeee'.

Richard Curtis and Ben Elton's script is everything you could wish for. Their jokes touch upon all of the horrors to which soldiers eventually became innured: cold, wet, shortages, rats and death.

And it is that last episode which raises the series beyond the level of simple comedy. In a brief twist at the end, we see 'the team' go over the top to face their own belated death. In slow-motion, their figures become engulfed by a hail of enemy ordnance as the theme plays haltingly on a single ill-tuned piano. Moments later, the scene segues into the poppy-reddened fields of their epitaph.

I have the series on DVD and it reminds me as much as my photographs of the many hours spent wandering along the Western Front.

Its characters seem to speak for the millions who can't.


On only a few occasions have I ever been reduced to tears by film or television - Blackadder Goes Forth is one such occasion. The first five and a half episodes are however pure comedy of the highest order. Whenever I watch Blackadder I simply do not stop laughing throughout the whole thirty minutes, the jokes come thick and fast, in fact they probably come a little too fast since quite often you'll find yourself in stitches at one joke and be laughing for so long you'll miss the next one.

What is so brilliant about Blackadder Goes Forth though is how the gags cut right to the heart of the such sensitive material the stupidity of the British tactics and commanders is mercilessly exposed - and rightly so - with brilliant lines such as "a war that would have been a lot easier if we'd just stayed at home and shot fifty thousand of our men a week".

In terms of acting as well Blackadder Goes Forth is way ahead of the usual standard for comedies. Rowan Atkinson is at the top of his game as the uber-cynical Blackadder still reeling from the shock of having gone from fighting colonial wars to fighting the much more heavily armed Germans. Melchett and George are done in a wonderfully over the top (no pun intended) manner by Fry and Laurie whilst Tim McInnery is absolutely stunning as the sly Captain Darling who'll do anything to avoid fighting. Baldrick is perhaps at his weakest in this series and at times seems like he is only there to deliver his (albeit great) catchphrase "I have a cunning plan". Meanwhile stars of previous series appear in various episodes adding variety to the show - they too put in strong performances especially Rick Mayall and Miranda Richardson.

About half way through the final episode though the whole show changes and suddenly it dawns on the viewer that this is THE end. The tone is radically altered, Blackadder's sarcasm remains but it's not funny now, well at least not in the same way as it was before. It is at this point that Blackadder Goes Forth becomes more than just a comedy and completes it's brilliance as it now touches the heart as well as the head.


Out of all the Blackadder series, this one was my favourite. My favourite character in it was General Melchett excellently played by Stephen Fry, but all of the other cast were down right brilliant as well. The writing was also top notch.

It is World War 1. Captain Blackadder (Rowan Atkinson) is in charge of a trench where the occupants are- the scruffy Baldrick (Tony Robinson) and the over enthusiastic George (Hugh Laurie). Away from the trenches is Blackadder's boss General Melchett (Stephen Fry) and Captain Darling (Tim McInnery). The final episode sees Blackadder, Baldrick, George and Darling go over the top and get killed. That moment in my opinion is the most dramatic moment in a sitcom.

All six episodes of this were hilarious. No matter how many times you see them, you can't stop laughing. They are very clever, full of intellectual hilarious gags.

Best Episode: Private Planes- Series 1 episode 4: For the excellent guest appearances of Bottom duo Rik Mayall and Adrian Edmonson.


SERIES FOUR BLACKADDER GOES FORTH "I'm the last of the tiddly-winking leapfroggers from the golden summer of 1914. "

In many ways the final series was the most dark and poignant. The hero of this series finds himself as a captain in the first world war holed up in the trenches with his batman Baldrick and his lieutenant George, played as a simple and well meaning fellow again by Hugh Laurie. Two of the regulars are back in the fold, Fry and McInnery as the HQ planners who our heroes are constantly trying to foil. Many ways are found to try to get out of the war, from becoming war artists to pretending to be mad a plan that will never work as Blackadder points out, "who would notice another mad man around here?". There are two great pairings in this, the jaded and career soldier Blackadder balances nicely with the upper class and enthusiastic George. Also back at HQ Lord Melchet (a sort of General Haig figure) makes a substitute father figure for the put upon Captain Darling. The piece of the show that always sticks in my mind is the ending, despite all of their schemes and plots the day comes when they have to go "over the top" and the final scene sees them running slow motion to certain death, not what yo would expect from a lesser comedy.

Captain Blackadder: Don't forget your stick Lieutenant Lieutenant George: Rather, sir. Wouldn't want to face a machine gun without this.

this one interchange between the two sort of sums up the hole absurdity of the situation, there's nothing so ludicrous as reality I suppose.

Blackadder spanned nearly a decade and evolved from a cult show for deranged history buffs to prime time viewing for all and allowed for some memorable characters and scripts along the way, we may never see its like again. Fifth series anyone?


There are few shows that keep me coming back for more, or that I would pine for to see a new version of, but Blackadder is one of those shows. You need only look at the great writing and great acting to see a show that will forever stand the test of time.

Blackadder goes Forth is pure genius, tinged with sadness- on this occasion Blackadder is yet again obnoxious, ruthless and selfish, but in the aim of doing something we can understand- escaping the trenches of WWI. Desperation underpins everything he does. The real 'bad guy' is General Melchiot, with his hare-brained schemes, which, as Blackadder puts it, feels like 'pushing Field Marshall Hague's drinks cabinet another few inches closer to Berlin'.

Such lines as 'I'm as British as Queen Victoria' 'So you're father's German, you're brothers are German and you're cousins are German?' are rattled off with accomplished acting skill and timing. Like I said, this show is pure genius.

The ending just serves to highlight the tragic nature of WWI, and the futility faced by all in the trenches. It's a touching moment, that makes you stop and think.


The last part of the Blackadder series, this is almost my favourite, due to the brilliant performances of all the actors (especially Stephen Fry, Tim McInnerny and Hugh Laurie), the hilarious jokes and the plots of each episode (even the last one - which is rather dire). Like all the Blackadder parts, this series has a very good intro and credits, in this the intro is the best. The World War I theme works very well with the three companions. All in all, a very entertaining finish to the Blackadder series.

This has a rather grim World War I theme, but luckily there are brilliant jokes and plots to brighten up each episode. Blackadder is cynical and grumpy as usual, Baldrick is his stupid self and George is still very stupid and positive in this terrible war. General Hogmanay is also rather stupid and keeps making sure they are on the right track and doing what he wants. Captain Darling always has something sensible to say but the General never lets him. He has very strong opinions but is not very strong himself.

The cast:

The cynical, intelligent Blackadder: Rowan Atkinson. The lovable, stupid, hopeful Baldrick: Tony Robinson. The stupid, jolly General Hogmanay: Stephen Fry. The weak but strong-minded Captain Darling in the background: Tim McInnerny.

Recommended to anyone who enjoyed the previous Blackadder parts, anyone who likes British humour and anyone who likes good grown-up humour. Enjoy! :-)


With most televisions series the quality often declines and the British tradition is to end a series after 2 or 3 seasons. Not so with Blackadder Goes Forth, the best of the Blackadder television comedy.

Set during the First World War in 1917, this version of Edmund Blackadder (Rowan Atkinson) is now a Captain of the British Army on the Western Front. He is joined with his trusty moron sidekicks Lieutenant George (Hugh Laurie) and Private Baldrick (Tony Robinson). In the Army headquarters are the idiotic General Melchett (Stephen Fry) and scheming Captain Darling (Tim McInnerny). Throughout the series Blackadder tries his best to avoid being sent over the top, he made it that far. This series looks at many aspects of the war, the growth of popular and army culture, the growth of the air force, the lost of Russia, the use of court-martials, etc...

The First World War is an usual subject for comedy, especially because of the massive lost of life and the first time many countries suffers the affects of total war. What the writers Richard Curtis and Ben Elton do is turn the series in a dark comedy, a satire of the affect of the war the lost of live and the leadership of the British army; similar to Stanley Kubrick's masterpiece Dr. Strangelove. Both writers are famous for left-wing, anti-war opinions. The show also tries the mick of the British upper class attitude. The series doesn't dishonest the memory of the soldiers who sufficed their lives for their nation. But the series does poke fun at some historical events and people, like war poetry, the Christmas Truce, the Red Baron and Field Marshall Douglas Haig. The writing is top notch and extremely funny.

The actors were on the top of their game. Blackadder and Baldrick are the best characters Atkinson and Robinson had played and are an amazing double act. Blackadder is fantastic as a schemer, whilst Baldrick is excellent as the fool. Hugh Laurie is also a very good comedic actor and his is delightfully naive as George who just sees the war as an adventure. Stephen Fry is also a talented comedian, and is great at satirising the leadership of the British army. Tim McInnerny is excellent as the protagonist of the series. There are great guest stars in the series, such as Rik Mayal, Adrian Edmundson and Miranda Richardson.

Blackadder Goes Forth is a classic series with a number of great episodes. The last episode is a much see. This series is essential viewing.


I really enjoyed Blackadder. I thought it was funny, interesting and at the same time meaningful - about soldiers being sent to their deaths by incompetent fools, which was commonplace in those days. The episode plots also had their relevance in war, and there were also some good settings, even though there were certain anachronisms. I would say that Blackadder Goes Forth is the best out of all four Blackadder series, and I think it deserves its rating of 9.0/10 on average. A very enjoyable view indeed. Blackadder should be seen by everyone, as it is a comedy of many colours. There are certain characters that I don't like (e.g Captain Darling), but I especially like stupid Baldrick and Blackadder himself. This is the best war/comedy ever made by far. Better than Dad's Army. *****/*****


Oh yeah, cool(and terribly British) comedy. Basically jokes everywhere of how badly the war was going in 1917.

Involving the cunning Captain Edmund Blackadder. The not so cunning Private Baldrick. The silly Leutenant(that's pronounced Leftenant in Briatin, don't ask me why)Geroge. Their commanding officer:General Sir Anthony Cecil Hogmany Melchett(what a mouthful). And his second in command:Captain Kevin Darling.

Captain Blackadder is simply trying has best to get out of this silly war with the Germans. But the idiot, General Melchett, keeps him there. Captain Darling's name is a great centre for comedy as the characters constantly address him is 'darling'(damn i've given it away) Overall, my favourite comedy. What more can I say.


Blackadder series 1 was ok, 2 was very good, 3 was pretty good, but this, series 4 is an absolute masterpiece.

It is so side splittingly funny, even 10 years & countless repeats later, that you hurt laughing while watching it.

The hilarious gags are just constant & the characters sensational. The final episode (6) should be shown once a month as it is the greatest half hour of television ever.

This series is TV at it's best, it's humour at it's best, it's just everything at it's best.

It's an absolute privillege to have watched 3 hours of comedy, excitement, sadness & a quite brilliant portrayal of WW1, that is Blackadder series 4.

If you've never seen it, make the effort. You lucky sods! You'll never see anything better. Alongside Fawlty Towers, the greatest piece of TV ever.


The final series, this time focusing on WWI. Part of what makes this one work so well is that they point out the negatives of war, especially the more traditional battles, so marvelously; the officers are devoid of a sense of reality beyond their comfy chair and desk, the assignments all contain the unwelcome promise of certain and meaningless death, boredom is rampant during a lot of the waiting, and the front runs out of supplies and the substitutions... you don't want to know(not sure why they felt the need to go into such detail about it, much less have so many of that type of jokes, but I digress). Melchett returns, as a stark raving mad superior, adopting the obnoxious, loud behavior of Laurie, and the two, individually or, better yet, together, lead to many an eye-rolling, funny and memorable moment. McInnerny is back, and going by his wish to avoid being typecast as the innocent, and remarkably stupid, Percy, he instead is cast as a slimy rival to Edmund, with the unbelievably(though based on an actual poor bugger) unfortunate surname of "Darling", creating an utterly hilarious running gag. This has a fantastic main group. The verbal, clever, British material is still going strong, immensely so, and this holds numerous of the greatest lines of the franchise. Satire is also magnificent in this, and it comments on more or less every aspect one could think of, relating to the period and situation. The plots are interesting, well-written(as really everything in this) well-thought out, and rather surprising. Acting is all great, and the guests are impeccable, including the always spot-on Richardson. Blackadder himself isn't downright depressing as he was in the third, which is not to say that the bite and snark that we do love so are gone, not by a long shot. Every episode is excellent, and the ending of the final one is beautiful. The comedic timing is flawless. There is silly stuff, in-between the wit. Almost all of it garners deserved laughs. I recommend this warmly to any fan of these shows, Atkinson and this type of humor. 8/10


This is a very funny series but please don't confuse it with a history of WWI. David Lloyd George (The British Prime Minister) and Douglas Haig (The General commanding the British Army) hated each other and after the war DLG got his memoirs into print very quickly - this led to the myth that the British Army was led by bungling officers and sacrificed for nothing.

This show plays on that myth - In an extremely funny way. Alas - it also helps rob the British Army of its finest victory.

Despite that I love this show - they visit so many of the controversial sides of this conflict in what is at times a side achingly funny way. The end is especially poignant.


This exquisitely photographed film portrays the cultural clash between Europeans (in this case the Europeans happen to be French) and various native tribes in seventeenth century North America without romanticizing either French culture or that of the native peoples.

Perhaps the most striking feature of this film from my perspective was utter arrogance of the Europeans to come into a wild country presuming the superiority of their way of life over that of the indigenous peoples. No character seemed to understand that better than Father LaForgue, admirably portrayed by Lothaire Bluteau. The good Father soldiers on despite the evidence that his presence in the vast wilderness of North America won't make a whit of difference in his life or in the lives of the people he has vowed to introduce into "paradise." The Algonquin guides worry about their attachment to the "demon" LaForgue and wonder whether they shouldn't just kill him. Even LaForgue's young assistant, Daniel, wonders how the presence of a French missionary makes the the native people's lives any better. The Iroquois, who suffer from a harsh depiction in the film, take a more economically-based view of LaForgue -- he and Daniel are seen by the Iroquois as currency to be exchanged for guns.

An aside concerning the Iroquois. While the violence depicted in the film is no doubt accurate, what the film does not reveal is that the Iroquois likely became decidedly more hostile when the French began to assist old enemies, such as the Algonquin, in traveling into hunting grounds that had previously been Iroquois territory.

But back to LaForgue, whose journey is the primary emphasis of the film. He has journeyed, apparently from a life of some privilege in France, leaving behind a doting mother and (perhaps) a beautiful young woman. He has journeyed away from the "pleasures of the flesh," lingering on the sight of a couple making love in the communal tipi and later admitting to Daniel that he, LaForgue, lusts after the young Alogonquin woman,Annuka, with whom Daniel had already struck up a sexual relationship. He gets lost on the journey in the cathedral-like forest and rejoices and being found by Algonquin hunters, who express some bemusement that the Black Robe got lost in the first place. Finally, he journeys to the Hurons and a village beset by smallpox, where baptism has been sold to the natives as a miracle cure as much as it has a key to salvation.

By avoiding the tendency of films depicting Native American life to romanticize, Bruce Beresford has captured more profoundly the daily harsh realities of life for the peoples inhabiting the northeastern portion of North America at the arrivals of the first trickling of Europeans. Neither way of life is ultimately depicted as superior to the other: each simply is. This is not a "feel-good" film. Instead it is a realistic, thought-provoking tale of a journey of a man, of cultures, and of life itself. Simply a brilliant film.


Wow, what a fascinating movie and different kind of film. One really can't get the full impact of this through a review. Anyone who has seen this, I think would agree with me on that.

If I had skipped over the credits and someone had told me Terrence Malick (Days Of Heaven, The New World, The Thin Red Line and Badlands) and directed this film, I would have believed it. Visually, this is his kind of film. I wonder if this movie inspired parts of his latest effort, The New World? There are a number of similarities. Black Robe has the same kind of beautiful and haunting images Malick's films possess but the director in this case is Bruce Bereford, the man who directed Driving Miss Daisy a couple of years before doing this film. DMD also is beautifully-filmed.

Black Robe is not just a piece of art. As great as it is visually, this is a powerful story of a well-intentioned Jesuit priest in the early 17th century who travels to "New France" (upstate New York/French Canadian territory) attempting to convert a few area tribes to Christianity. To unbelievers, that seems pushy but Biblically-speaking it is not. Jesus commanded his followers to do just that (Matt. 28:18-20) , so the priest is only doing what missionaries have done for centuries. He also is a good man, stays strong in his beliefs regardless of his own well-being and is a gentle soul. Kudos to the filmmakers for being fair to him.

The Algonquins and the Hurons are also shown with their beliefs, too, and their cultures which obviously were in contrast to the white European-based priest. All sides are shown fairly in this movie, with both positive and negative traits of all.

I was shocked at a few scenes in here, not expecting them as the film has such a gentle flow to it before anything dramatic happens. We see a few sexual scenes and then some brutal violence. The Hurons, particularly, do not want any invasion of their privacy and culture and are openly hostile to the priest and the Algonquins. The story transforms from a quiet Malick-type "New World" poetic piece to a violent, suspenseful film and the question is, will the "good guys" make it out alive?

The actors in here, perhaps, are not names most people outside Canada are familiar with, including me, but Lothaire Blueteau as Father Laforgue, Aden Young as his assistant "Daniel" and Sandrine Holt as Daniel's Algonguin lover "Anuuka" are all very, very good. All the characters in this film are very credible people, steadfast in their own beliefs and they come across as realistic people. Most films have unreal people with unrealistic dialog....but not in this movie.

Another big plus was the soundtrack: a lush, haunting score throughout.

Without spoiling the ending, or adding political/theological agendas my own, let me just add that if you enjoy a beautiful-looking movie which also has a thoughtful, haunting story with honest characters, you should check this out. Highly recommended.