Q: Just when it was easy to assume that a costume drama about royalty couldn't go anywhere, we are given a treat, a moving and intelligent drama anchored by strong and charismatic performances by Emily Blunt, a marvel in the leading role, Paul Bettany, Rupert Friend, Miranda Richardson, and Mark Strong, as the immediate forces that help shape the development of one of England's most powerful monarchs. "The Young Victoria" dramatizes the tumultuous transition of the young woman into power.

Emily plays the queen, with a good combination of raw strength and innocence, someone who recognizes the complexity of the task at hand, but who possesses enough confidence to move forward. She is able to portray Victoria, as an astute young woman who knows she needs support from some key players and must be able to stand up to those who might now have her best interests at hand.

Victoria must fend a barrage of intrusions on her way to the crown, and even when she takes command of her new position, she discovers the road to self sufficiency will depend on making some very important decisions and of course, the right support. Luckily for Victoria, there is Albert, a man who appears to like her and is her soul mate. There is amazing chemistry between the two performers, and there's little doubt what the outcome will be, but there is the figure of Bettany's Prime Minister, a man who provides Victoria with some wise support and is also fond of her.

Miranda Richardson and Mark Strong shine in supporting roles as two parties who might be of questionable character and exert a considerable amount of power in the upbringing of the young girl. Every one of the supporting characters could use a bit more of development, but what we can see in the screen might be enough to keep us focused on the central character and a superb performance by Blunt, an actress who has shown enough fire and passion in previous performances. In here, she is given the breakout role of her career, a real life historical figure, who broke the rules and managed to rule for a very long time. She shows the seeds of the strength and character the monarch might have needed in her later years. She also has a sweetness and innocence that became the foundation of her charitable work and future intervention in social changes.

"The Young Victoria" is not a royal epic portrayal of England's ruling class. It is an intimate story of how human beings grow up and whatever special circumstances surround and shape them. In the end, the movie is a lovely entry in a year that has shown much emphasis on war and destruction. In here, there is a message that good writing and good mediation can take us very far, and there is of course, a good old fashioned love story.
A: positive
Q: I had to compare two versions of Hamlet for my Shakespeare class and unfortunately I picked this version. Everything from the acting (the actors deliver most of their lines directly to the camera) to the camera shots (all medium or close up shots...no scenery shots and very little back ground in the shots) were absolutely terrible. I watched this over my spring break and it is very safe to say that I feel that I was gypped out of 114 minutes of my vacation. Not recommended by any stretch of the imagination.
A: negative
Q: After Garbo's introduction to sound in Clarence Brown's "Anna Christie", Jacques Feyder made a German version of the movie where all of the cast, except for Garbo, were different. While the American version is still more available in the USA and most of the American viewers have primarily seen this version, the Germna "Anna Christie" is more likely to be viewed in Europe. As I have seen both films, I feel the right to compare the two closely-knit productions. Is Jacques Feyder's film different? Is it better than Clarence Brown's?

In this analysis, I would like to focus first on what the both movies have in common. They have identical sets, very similar scripts and the same chronologically presented scenes. Here, you also find the story of the young woman who comes back to her father after years of absence and is trying to start a new life. Here, you also have the humorous, though a bit shorter, sequence in the amusement park. However, when emphasizing Garbo herself, I address the first difference. She does not appear to cause such a curiosity while talking. The viewer concentrates more on her acting than on the way she speaks, which occurred, most probably, to 1931 viewers. Garbo was very good in American film and she is also very good here. Yet, to me, she seems even more genuine in the German version. It is noticeable that Garbo does not focus on the way she says the words that much (the effort that was artificially created by the sensation: GARBO TALKS!). Her German is not very well pronounced; yet no one cares: everything is perfectly understood. Therefore, I can easily say the same I did in my American version comment: Skaal Greta Garbo!

Yet, the film differs in one very important issue: the rest of the cast. Here comes the question: which portrayal seems more captivating, which one is better for sure? The differences are filled with varieties. Salka Viertel (or Salka Steuerman), Garbo's lifelong friend, does not do the equally great job as Marie Dressler in the role of Marthy Owens. She is not bad, she is different, sometimes overacts (from today's perspective) but is no longer that genuine in the role as Marie Dressler who still amuses us and whose moments have absolutely stood a test of time. Some people even claim that Dressler was better than Garbo in the film and that opinion, though appears to be questionable of course, carries some truth. Theo Shall is more sympathetic as Matt than Charles Bickford but when applied to him, this is not the matter of performance so much as the mater of looks.

Who shines in the German "Anna Christie", who is really worth greatest attention is Hans Junkermann in the role of Chris Christopherson, Anna's father. George F. Marion vs Hans Junkermann is like a day vs night difference. Junkermann portrays a real alcohol addict, a man with hopes, with fears, who overdoes the care of his daughter. The scene of Anna's first meeting with her father is truly magnificent, the opening moment of Chris' conversation with Marthy is memorable particularly thanks to his facial expressions and a flawless performance. Junkermann is the Chris whom you like, who you sometimes laugh at, whom you sympathize with, who leaves a picture of a calm alcoholic sailor in your mind. Great!

If you have seen the American "Anna Christie" and have a chance to get the German version, I would highly recommend to you this movie because it's a slightly different look at the story, a nice and accurate way to compare, a fine enrichment to Clarence Brown's movie and, foremost, a wonderful chance to discover a marvel of performance: Hans Junkermann's. Skaal or Prost, Hans Junkermann!
A: positive
Q: DOes anyone know where or how i can get a copy of this film?!! I've been searching for way too long, someone help! Back in 1997 my girlfriends and i were extras on this Long Island based film, and we actually never got to see it. :(

i was hoping i could find a copy somehow so i can finally check it out, and share it with the girls! Is there anyone out there who knows where to get a copy of this, so i can stop driving myself crazy? (also, it doesn't matter if its in in VHS format, i'm still in the ice age myself.) If you, or anyone you know, has a copy of this film please help, i would be willing to pay for a good copy of it!
A: positive