Richard III (1956) Review

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(More customer reviews)Those who criticize Laurence Olivier and Alan Dent -- co-authors of the screenplay -- for taking certain liberties with Shakespeare's play should also criticize Shakespeare for taking certain liberties with the historical material on which he often relied so heavily. In this instance, Holinshed's Chronicles of England, Scotland and Ireland, Vol. 6, and various Tudor Historians. In my opinion, such quibbling is a fool's errand. This much we do know about the historical Richard III. He was born in 1452 in Fotheringay Castle, Northamptonshire, the youngest son of Richard, Duke of York. He was created Duke of Gloucester by his brother, Edward IV, in 1461, accompanied him into exile (1470), and played a key role in his restoration (1471). Rewarded with part of the Neville inheritance, he exercised vice regal powers, and in 1482 re-captured Berwick-upon-Tweed from the Scots. When Edward died (1483) and was succeeded by his under-age son, Edward V, Richard acted first as protector, but within three months, he had overthrown the Woodvilles (relations of Edward IV's queen), arranged for the execution of Lord Hastings (c.1430-83), and had himself proclaimed and crowned as the rightful king. Young Edward and his brother were probably murdered in the Tower on Richard's orders, although not all historians agree. He tried to stabilize his position but failed to win broad-based support. His rival Henry Tudor (later Henry VII), confronted him in battle at Bosworth Field (August 22, 1485), when Richard died fighting bravely against heavy odds. Though ruthless, he was not the absolute monster Tudor historians portrayed him to be, nor is there proof he was a hunchback.
Cleverly, this film begins with the final scene of Henry IV, Part III, the coronation of Edward IV (Cedric Hardwicke). Locating himself at a strategic distance from the throne, the Duke of Gloucester (Olivier) carefully observes those around him. He shares with those who see this film or read the play his most private thoughts and feelings, many of which are as deformed as his body. Gloucester's "winter of discontent" will soon end. With a systematic tenacity unsurpassed by any other of Shakespeare's villains, Gloucester's coronation as Richard III (his own "glorious summer") will be the fulfillment of his royal ambition. The acting throughout the cast is outstanding. I do not recall another film in which Olivier, John Gielgud (George. Duke of Clarence), and Ralph Richardson (Henry Stafford, Duke of Buckingham) all appeared together, joined by Claire Bloom (Lady Anne Neville) and Stanley Baker (Henry Tudor). Special note should also be made of Otto Heller's cinematography which is integrated seamlessly with their performances. It is a pleasure to have this film now available in a DVD format, one which offers much sharper images and much clearer sound. Other special features of this DVD version include high-definition digital transfer; newly discovered footage; a commentary by playwright and stage director Russell Lees and John Wilder, former Governor of the Royal Shakespeare Company; 1966 BBC interview with Olivier hosted by Kenneth Tynan; a 12-minute television trailer; a theatrical trailer; and an essay by film historian Bruce Eder.

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Widely acclaimed as his crowning Shakespearean film performance, Laurence Olivier's Richard III is the notorious tale of Richard of Gloucester.This deformed king connives, backstabs, and woos his way to the top of the royal heap, but his treachery eventually lands him on the fields of Bosworth, dying and screaming "A horse! a horse! my kingdom for a horse!" Olivier, who loved the role for "its bloodcurdling spurts of malevolence" and "smoldering sexuality," gives a performance that will define Richard III for years to come.A cast replete with Britain's acting royalty give a command performance of the highest order.Restored to its original widescreen version, the film blazes with vivid color, while William Walton's musical score stirs and rouses the emotions.

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Therese Raquin (1981) Review

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(More customer reviews)I keeping echoing over and over....I watched this presentation because I aspire to see every possible iota of work available by the outstanding actor, Alan Rickman.
Each time I view Rickman's work solely for that reason, I am rewarded with an outstanding piece of entertainment I would have otherwise missed. This Masterpiece Theater presentation of Emile Zola's acclaimed novel,'Therese Raquin', is one more gem in that growing list of eclectic, but always exceedingly high-quality, films that make up the body of Rickman's work.
This tragic drama of a simple household populated by complex characters quietly unfolds in a sparsely stated manner, completely divergent from the shocking passion and emotional turbulence bubbling and smoldering under the surface of this story of illicit love, its requisite deceit, and the tragic explosion of events which are born of its temptations.
Kate Nelligan (The Cider House Rules) in the title role reminded me of Tiny Louise in what I believe was Tina's debut role as another dallying daughter-in-law, Robert Ryan's in her case, Griselda, simmering with adulterous lust for Aldo Ray in 'God's Little Acre'. Brian Cox, as Laurent, Therese's passionate lover, bears little resemblance to his recurring role of Ward Abbott in the recent 'Bourne' films or even his smaller role as Doug Durwin in 'Minus Man'. Simply said, his Laurent is 'deadly sexual'. Kenneth Cranham was seemingly perfectly cast as Camille, Therese's doomed cuckold, and certainly far removed from the villainous hitman, Gibson, in Britain's 2001 film, 'Shiner'. English actress, Mona Washbourne, shines herself in her role as Madame Raquin, with whom Camille, her son, and his wife Therese reside, and over whose literal head Therese and Laurent shockingly cavort sexually, while in truth nothing about Therese goes over her mother-in-law's head, either before or after she becomes a helpless invalid left to the care of Therese.
Alan Rickman (Vidal) in his role as artist/friend is resplendent in curls and could be my friend any day. Alan always makes the most of his role, no matter how small. Vidal is absolutely no exception, showing all the talent, charm, and creativity Alan's dedicated fans would swoon over in the years following this early TV role.

Rickman fans must watch this early work of Alan to be able to truthfully say they 'could see his talent unfolding even then'. Lovers of drama and tragedy, love and lust, and a simple time-old story very well told will love this TV series dubbed by the "DAILY EXPRESS" to be 'One of the best serials ever seen on TV....electrifying'. They were not exaggerating by even one volt.

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Upstairs Downstairs - The Complete First Season (1974) Review

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(More customer reviews)This British series is in a "class" by itself. It's characters are unforgettable, the acting inspired and the backdrop evocative - Edwardian England from 1904 into the 1930s. The story evolves around the aristocractic Bellamy family "Upstairs" and their servants "Downstairs," but it is not a soap opera. It is as genuine, real and honest as any period production, or for that matter, any production, that I have ever seen. The characters grapple with the same struggles that we continue to confront in mordern-day America: love, loss, coming of age, morality, prejudice, death, economics, social responsibility, freedom and the search for life's ultimate meaning - concluding with the horrendous effects of a World War and its devastating aftermath. This unflinching look at history as well as a truly timeless, engaging saga is not to be missed. I genuinely rejoice that such a remarkable treasure is finally available on DVD. Originally broadcast on PBS's Masterpiece Theatre.

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Follow the "upstairs" dwellers, the Bellamys, and their "downstairs" servants through one of television's most loved and lauded series of all time. This collector's set includes the entire first season, all 13 episodes, of the multi-award winning series. Catch a first glimpse of 165 Eaton Place and be enchanted with the saga that captures the essence of life and love in Edwardian England.

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Julius Caesar Review

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(More customer reviews)Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

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Kidnapped (1960) Review

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(More customer reviews)Originally released in 1960, filmed 10 years after Disney's "Treasure Island" (Both are based on books written by Robert Louis Stevenson). This is a grittier more realistic film than Treasure Island, not as flamboyant. Coincidentally, Disney Director Robert Stevenson wrote the screenplay based on the novel but he is not related to the original writer.
Set in 18th centurey Scotland, it features James MacArthur who made 5 other films for Disney as a young man, and later moved on to "Hawaii 5-O". The film starts with a plot of a young man finding out he has an estate after his father dies, and when he goes to reclaim it his uncle tries to cheat him out of it. There is a famous scene where the uncle tries to kill the young man by sending up a tower in the dark... with missing stairs. Peter Finch is the Hero that takes him under his wing. They have to battle their way off a ship as cutthroat sailors try to murder them. The movie draws you in, as it is very realistic and loaded with period atmosphere, costumes, sets, and weapons. The British are chasing the Scottish Highlanders all over the countryside which is loaded with friends and traitors, and so they can trust no one. There are many character actors that add to the richness of the film. This film is a rollicking good time, and has intrigue, adventure, and mystery as well. Swordfights and gun battles galore! There are numerous authentic Scottish actors and accents, as it was filmed on location in Scotland. While Disney films that were made in Europe were criticized for being "too Americanized" they loved this film and praised both it's authenticity to the original book.
The color is beautiful on this nice clean print. This film is not for the smallest kids as it does have some scary scenes and some violence. (But keep in mind that the film still takes a strong stand against killing and drinking/gambling. Nice moral lessons without being preachy. The stars fight because they have too, and truly regret having to participate in violence to defend themselves).

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Robert Louis Stevenson's exciting saga of a young man's quest for his rightful inheritance bursts upon the screen in this faithful Disney adaptation. Award-winning actor Peter Finch stars as the daring rebel, Alan Breck, who joins forces with young David Balfour (James MacArthur) to do battle with scurvy sea dogs and ruthless Redcoats. A strong supporting cast features the memorable screen debut of Peter O'Toole. Filmed in the majestic Scottish Highlands, Disney's KIDNAPPED, with its swordplay, storms at sea, and heroic bravery, is a classic adventure of epic proportions!

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Henry Fielding's Tom Jones (1998) Review

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(More customer reviews)"It is a pity he was not immortal, he was so formed for happiness." -- Mary Wortley Montagu on the death of her cousin, Henry Fielding.
This dramatization of this most wonderful book is nearly perfect. I say nearly perfect because that are one or two little problems with the sound (no, Honour doesn't mean she wouldn't say a word if Sophia were to go to bed with Mr. BLIFIL instead of Mr. Jones, nor does Miss Western mean to say, "Brother, if you would only leave your NIECE to my care...") but never mind that. It doesn't matter because the director, Metin Huseyin, has his fingers on the pulse of 18th century England. It's not a "bawdy romp." It was really like this. Straight, nonintoxicated Englishmen hugged and kissed each other in public (a show of feeling was considered a mark of a gentleman). People talked more openly about sex than they did for another 175 years, the fact that women liked it too, and the fact that sex is, every once in a while, a motive for human behaviour. Women talked back and demanded respect. Hypocrisy was everywhere (and just like now, you could sometimes say so). About 140 crimes carried the death sentence. Money and property sometimes mattered more than people. Young people sometimes had to marry the person they were told to marry whether they hated them or not, and being kind, generous and amiable could get you in worse trouble than being greedy, grabby and nasty. Fielding wrote it all down and Huseyin delivers it wonderfully well here.
Tony Richardson's Tom Jones was splendid, to be sure, and is full of brilliant acting, but in many ways it was, to quote a friend of mine, rather like, "Austen Powers does the 18th Century." This is Tom Jones as Fielding conceived him. A pretty, sweet fellow, probably based on Fielding's youthful self, who makes a few very human mistakes and, with the help of his enemies, nearly gets himself hanged.
The casting in this production is marvellous and the director has, probably through his obvious great love for this story, allowed each actor to be infused with a faithful sense of character. Fantastic as Joyce Grenfell was, to the heavily Freudianized audiences of 1964, a character like Lady Bellaston could only be portrayed as a clinging nyphomaniac. Lindsay Duncan, on the other hand, is perfect as the mature, sexy, selfish, independently wealthy female who does exactly as she likes, a type of woman not unknown today and not unknown in the 18th century, either. (It was the Victorians and people in the first three quarters of the 20th century who claimed women like this were aberrations.) Peter Capaldi is great as the horribly funny Lord Fellamar. Partridge is rumpled, wronged and tender-hearted. The household parasites ARE odious, Brian Blessed IS Squire Western (complete with dog slobber and misguided parenting), Samantha Morton is perfect as Sophia, who in turn was based on Fielding's beloved wife, Charlotte; lovely, hot-tempered, brave and honest. As is true of all the casting, her long-suffering, imperfect maid and friend, Honour, is great. The child actors well match their grownup counterparts. Beesley is a good Tom and also has a nice bottom. John Sessions, who plays Fielding himself, our wry narrator, is a delight.
This production is much closer to the original, including the dialogue, already in place by Fielding, who wrote dialogue for his novels like the dramatist that he was; so in a way it was already a screenplay. Some of the longer narrative passages had to be pared out, of course, but why both directors (Richardson and Huseyin) leave out the fact that Squire Allworthy sends his precious but disgraced Tom off, well provided for, with 500 pounds in his pocket, I don't know, but I'm sure they had their reasons. The sets may not be brilliant, but the costumes, make-up, acting and directing are. This is a wonderful production in the old BBC tradition. Get it and love it, because they aren't making them anymore. And if you think we won't suffer for this loss, then listen (as if you could avoid it) to the deafening whine that passes for so much of modern dramatic art. We need Henry Fielding as much now as they did then.

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Studio: A&e Home VideoRelease Date: 03/26/2002Run time: 300 minutesRating: Nr

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The Mayor of Casterbridge (1978) Review

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(More customer reviews)Ah yes, remember the Golden Sundays when Masterpiece Theatre actually gave us masterpieces? When I reviewed the recent release of the 1967 "Forsyte Saga," I mentioned that its immense popularity here in the States led to the creation of Masterpiece Theatre and that the very first series seen thereon, "The First Churchills," was due to appear on Acorn Media DVDs soon. Well, the 1987 "The Mayor of Casterbridge" (AMP 6110) has come first. And thank you yet again, Acorn Media.
This is the wonderful 7-part series with Alan Bates as the ill-starred Michael Henchard, who in a drunken fit sells his wife and their baby daughter to a seaman and then sees her again years later when he is a wealthy merchant and the Mayor of Casterbridge. From that moment on, nothing he does, no decision he makes, seems to come out right. It has been too long since I read the Thomas Hardy novel, but I do remember this scenario being quite faithful to its source.
As with most of the older Masterpiece Theatre series, the acting is topnotch, the scenery gorgeous, the costumes and props absolutely authentic, and the dialogue intelligent and true to the novel. It has been suggested that British actors are so versatile because they work for years in repertory playing all sorts of minor roles before taking on major ones. Bates is just about perfect as the irascible main character--but we have the only major problem here: much of what he says is very hard to understand since he speaks in a quite authentic regional accent and slurs and whispers his lines far too often.
Anne Stallybrass as his long-suffering wife Susan might be recalled as Henry VIII's third and best beloved wife from that series; while Janet Maw plays the almost too good to be true daughter Elizabeth-Jane without falling once into cliché. In fact, even the smallest roles are absolutely believable, so that the evil Jopp (played by Ronald Lacey, the evil Nazi with the burned hand in "Raiders of the Lost Ark") is not just your stock villain but a credible human who thinks he knows how to survive. Henchard's most unwilling "rival," Donald Farfrae, is played most sympathetically by Jack Galloway. Probably the second most complex character of them all is the "woman with a past," Lucetta Templeman, played by Anna Massey.
A really important character, however, is the town of Casterbridge itself and its many inhabitants. But they all exist in a Hardy universe, which is hostile at its best to the innocent and guilty alike. The interest here is how the character of Henchard simply makes things worse. Fascinating watching.

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Cyrano de Bergerac (Broadway Theatre Archive) Review

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(More customer reviews)I actually saw this version on TV back in the '70's and, at that time, I was astounded by Donat's performance. He is so natural, so believable, and so grand. Cyrano de Bergerac is my favorite play, and the director and actors have captured the beautiful spirit of Rostand's work. I have taught this play in high schools over the years and used other fine film versions as part of the class, but I always wished I could find a copy of the Donat version. Now I have. It was worth waiting for.

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The Pallisers, Set 1 (1977) Review

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(More customer reviews)If you are a fan of English costume drama, interested in amiable depiction of High Victorian Society, if you liked the most recent BBC version of Pride and Prejudice, and, most particularly, if you ever were forced to slog through Anthony Trollope's endless series of lengthy novels recounting the peregrinations of the Duke of Omnium, Phineas Finn, et al, then this is the series for you. It may be most interesting to the long suffering Trollope-reader. I believe that his novels were a sort of 1840s counterpart to modern cable TV. They were made to be read in the evenings, often aloud to gatherings of family and friends. And, since there was little competition for polite entertainment, there was undoubtedly little incentive for the listeners to want the stories rushed to an end. Hence, the elegantly written descriptions of drawing room rivalries, scrapes most often between the honorable and landholding wealthy and the rather dishonorable new-rich tended to drag on and on...and on. This TV treatment, although not a great commercial success in Britain when it was made thirty years ago, is therefore surprisingly successful - the acting, though criticised as stilted, actually is stylised. The basic drama of the situations (will the grand Duke of Omnium crush his defeated rival when they at last meet at some European gambling Spa? Will whatsisname, the preppy son of the Duke make good on his promise to marry the American adventuress?) comes across much better - and MUCH faster - through the TV episodes, and frankly make Trollope quite entertaining in the process.
Occasionally, TV takes narrative forms from the past and does make them paced and pallatable for new audiences. This series is still not for fans of fast editing, car crashes, and gore. It is, however, well-paced, mannered, elegant, wholesome and intelligent drama that should have been released to the public decades ago.
I have looked for it from time to time for over twenty years - having viewed these episodes as a young school teacher in Singapore in the 70s, where anything from Britain or America was a lifeline to home. I will look forward to watching it again, in senile rapture, rooting for the Duke and wishing ill on the many rascals that surround him.

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PALLISERS - DVD Movie

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The Best of Friends Review

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(More customer reviews)John Gielgud. Wendy Hiller. Patrick McGoohan. I could stop writing now, and feel that those three actors together in one film is all you need to know.
But, I will continue.
"The Best of Friends" is a television movie produced in 1991, which revolves around the correspondence of such towering figures as George Bernard Shaw, Syndey Cockerell, and Laurentia McLachlan, played by McGoohan, Gielgud, and Hiller, respectively. The three wrote letters to one another regularly, and even visited from time to time. This production culls its dialogue from the exquisite prose of those letters, nicely bringing to life these three interesting people. They discuss their ongoing lives, their opinions, their daily activies, their loves lives, but mostly their theological beliefs. Much of the story revolves around religion, faith, and devotion. Laurentia McLachlan is a nun, having devoted her entire life to the Lord. Shaw is also a man of faith, although he can sometimes be a tad more cavalier about it than his female friend, much to her dismay. Probably the most touching scene in the entire film involves Shaw's reminiscence of his trip to Bethlehem. McLachlan asked for him to take her there in spirit, which he did most admirably. She is quite visibly moved when he returns with two stones he picked up whilst in Bethlehem, one to put in the garden of her nunnery, the other.... for herself.
It is important to note that Alvin Rakoff directed "The Best of Friends" as though it were a play. There is very little music, though the music that *is* provided by Sidney Sager is quite moving. There are maybe 4-5 sets used throughout the 80 minute production, and the actors walk freely between them, reciting their dialogue sometimes to each other, sometimes directly at the camera, and sometimes to no one in particular. This takes but a few minutes to get used to, and by that time you are drawn-in by the wonderful words of these three people, brought to life by these three treasured actors. "The Best of Friends" makes for quite an enriching viewing experience, and it is nice to see that it has been given a good DVD release.

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The Forsyte Saga - The Complete Series (1969) Review

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(More customer reviews)Possibly the greatest TV miniseries of all time, it is wonderful that it has been released with great care and pride in this marvelous DVD set.
What sets this particular adaptation apart from others, especially the recent (2002) version, is the outstanding ensemble acting and rich characterizations. For example, as Soames, compare Eric Porter's crisp, impeccable diction in this version with Damian Lewis's mushy delivery in the 2002 version. Compare the delightful, comic realization of James (Soames's father), played by John Welsh in 1969, with the indistinguishable-from-all-the-other-Forsytes character in 2002. Most compelling, compare Nyree Dawn Porter as Irene in 1969, with... well, there really is no comparison here.
Of course, visually, this version suffers compared to last year's. It's shot in black and white, mostly on stage sets. Clearly, they used very few takes (another tribute to the actors), as minor defects like coats falling off racks, cameras getting bumped, slightly muffed lines are retained. But, really, who cares when you're watching the finest combination of acting and screenwriting ever put on TV?
This DVD not only contains the entire set of 26 fifty-minute episodes, but also additional material: cast interviews, behind-the-scenes, even deleted scenes and outtakes. Altogether, a beautiful job.

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The miniseries that started it all! In 1969, a internationally-acclaimed BBC show began airing on the fledgling public broadcasting network. The Forsyte Saga, in telling the remarkable story of a nouveau riche English family, introduced America to a new kind of TV. Millions of Americans devoted the next half year of their lives to following the frank treatment of all sins, foibles and peccadilloes of the Forsytes and their circle. The passing decades can never the erase the memory of their extraordinary evenings with the Forsytes: Kenneth More as Jo, the philosophical outsider; Eric Porter as Soames, the grasping man of property; Nyree Dawn Porter as Irene, "born to be loved and to love" and in later episodes, Susan Hampshire in an Emmy-winning performance as Fleur, Soame's 'restless' daughter. The series was so popular that Masterpiece Theatre was created to meet the new demand for great literary adaptations. With 150 characters, 2000 separate costumes and over 100 sets, this sprawling yet intimate saga continues to move, provoke and entrance viewers today.

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Elizabeth R (1972) Review

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(More customer reviews)This is a superb BBC miniseries, or "cycle of six plays", with extraordinary acting and most of all, a script that is a marvel, which uses original documents and the writings of Queen Elizabeth I as its source, making the story, so full of intrigue and drama, for the most part very accurate.
My favorites are the monologues, spoken with such power by Glenda Jackson, whose performance is a treasure. The cast that surrounds her is also wonderful, and often having a physical similarity to the historical character (with kudos to the make-up department).
There are so many reasons to buy this fantastic DVD package, which may seem expensive but is actually an excellent value. For historians this is a must, and anyone who appreciates great English theater will be delighted. The quality of the film is also exceptional, with an exceedingly clear picture and audio.
I bought it to prepare for a portrait of Queen Bess, and was enthralled by the detail of the costuming; what amazed me was how the fashion changed during the queen's forty-four year reign. It was a time rich with culture and style, with the emergence of Shakespeare and other great writers, and the queen loved clothes and jewelry, and surely set the trends.
The music by David Munro also adds to the atmosphere, and the sets have an authentic feel.
This is a brilliant production, and total running time is 540 minutes.
The DVD "extras" are terrific, are the entire content of the 4th disc, and should perhaps be viewed before the film, for full appreciation of the history. The "extras" are:
1: A lengthy interview with Glenda Jackson
2: An interview with historian Alison Weir
3: "Elizabeth I", an A&E documentary with commentary by various authors and historians, and marvelous imagery to illustrate it.
4, A: Glenda Jackson reads documents. B: Portrait Gallery (there is an error here, where the portrait of Robert Dudley is actually one of Sir Francis Drake). C: Historical Sites, including the queen's tomb, palaces, etc.
5: Behind the scenes, with a Who's Who of the cast.


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Episodes: "The Lion's Cub," "The Marriage Game," "Shadow of the Sun," "Horrible Conspiracies," "The Enterprise of England," "Sweet England's Pride." This magnificent 6-volume collection recounts the epic life and times of the remarkable Elizabeth I in a cycle of 6 plays. Won multiple Emmy Awards.

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The Pallisers - The Complete Collection (1977) Review

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(More customer reviews)The Pallisers is a 1974 BBC production based on Anthony Trollope's six-volume series of novels which takes place in the mid to late 1800s and covers more than 20 years. Where Trollope's Barchester series revolves around the church, his Palliser series revolves around the world of politics. Throughout the course of the series, one gains some familiarity with the political issues of the time--issues such as Irish tenant rights, the implementation of secret ballots, the abolition of rotten boroughs, the decimalization of the currency, and so on. If you're not particularly interested in politics or political history, you needn't worry, for the issues are not the focal point of the series. The show is primarily about individuals, their relationships with one another, and the scandals and intrigues that arise--we're even treated along the way to a murder and the ensuing court case.

The series primarily follows the lives of wealthy Plantagenet Palliser (Philip Latham), a Member of Parliament for the Liberal Party, the heir to a dukedom, and a very serious, conscientious, and morally upright gentleman; and the beautiful, spirited, and wealthy Lady Glencora (Susan Hampshire (The Barchester Chronicles, The Forsyte Saga, The First Churchills, The Grand, The Monarch of the Glen))--a young woman who, as the story opens, is head over heels in love with an avaricious but charismatic gambler, but whose hand is destined (if her guardian has her way) for Plantagenet.
I might just mention that each novel is an independent entity, and one can usually tell when one has reached the end of the dramatisation of each one, for there is a sense of closure to that particular story and we often see no more of individuals who were introduced for that story. Having said that, a couple of characters worth mentioning are the new, cash-strapped Irish MP Phineas Finn (Donal McCann), and Madame Max (Barbara Murray), a shrewd, resourceful and wealthy Austrian, both of whom feature prominently throughout much of the series.
The series consists of twenty-six 50-minute episodes, and one ought not to expect a slick production like those one has come to expect of 90's efforts. The production is very well done, but it is done according to 1970's standards. In other words, if you're familiar with Upstairs Downstairs, The Duchess of Duke Street, Lillie, and other 70's productions, you can expect the same sort of look and feel here. The only complaint I have (and it's a minor one) concerns the first episode or two which, unfortunately, appear to have been either overexposed or overdeveloped.
In short, this is a splendid period drama punctuated with plenty of comic relief, seasoned with a memorable cast of characters, and consummately acted by an all-star British cast. To name but a few: a bewhiskered Derek Jacobi (I Claudius, Cadfael) plays Lord Fawn, a cash-strapped man who has no luck with women. Penelope Keith (To the Manor Born, Good Neighbours) briefly appears in a few episodes as Fawn's domineering sister (just the type of character at which she excels!). Peter Sallis (Last of the Summer Wine's Norman Clegg) portrays the surly, unpleasant Mr. Bonteen. Anthony Andrews (Brideshead Revisited) appears in the later episodes as a grown-up Silverbridge, the Duke's eldest son, with Jeremy Irons (also Brideshead Revisited) as Frank Tregear, Silverbridge's best friend.
I highly recommend this captivating, intelligent, and all around enjoyable series (which I for one had never seen before). If you enjoy period drama, it's a safe bet that you'll soon find yourself hooked on this one--our family certainly was!


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The BBC jewel that became a PBS classic! "Wonderfully detailed etchings of manners, fashion and Parliamentary maneuvering" -The New York Times Set in the palatial country houses and grand Mayfair salons of mid-Victorian England, The Pallisers is a sprawling BBC saga of wealth, passion, and power. Based on Anthony Trollope's six "political" novels-called the finest sequence of fiction ever written about British Parliamentary life-and adapted by contemporary British novelist Simon Raven, the series proved powerfully addictive to television audiences on both sides of the Atlantic.Starring Emmy®-winner Susan Hampshire as the beautiful and passionate Lady Glencora, whose arranged marriage to rising politician Plantagenet Palliser (Philip Latham) touchingly endures despite being tested by public and private crises. Also starring Derek Jacobi (Cadfael),Penelope Keith (To the Manor Born), Anthony Andrews (Brideshead Revisited), Kate Nichols (Nicholas Nickleby), and Jeremy Irons (Damage). DVD SPECIAL FEATURES INCLUDE exclusive Susan Hampshire interview, 36-page viewer's guide, Trollope materials, cast filmographies and Victoriana.

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Shakespeare Behind Bars (2006) Review

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(More customer reviews)Although I am not in this documentery, I was a prisoner at Luther Luckett Correctional Complex in LaGrange, Kentucky during filming. It's almost hard for me to praise the film because I have a biased opinion. I know every one of the guys in this film personally and have experienced much of what they have. This film is about searching yourself, searching for the truth of who you really are inside. No other prison program helped me more than Shakespeare Behind Bars because for the first time in my life, I took a look at the real me. As the men in this film allow you to take a look at who they are, I challenge you to face your own personal truth just as I did while I was a member of Shakespeare Behind Bars. In the words of William Shakespeare, "To thine own self be true"!!!

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Shakespeare Behind Bars is a film that follows an all-male Shakespearean theater company composed of convicted felons. For one year, while incarcerated at Kentucky's Luther Luckett prison, the cast rehearse and perform a full production of Shakespeare's great last play, The Tempest.The prisoners cast themselves in roles reflecting their life experiences, including the crimes for which they were convicted. As they struggle to understand the characters they are playing, they uncover startling and moving truths about themselves.The Tempest's underlying theme of forgiveness is at the heart of this incredible documentary. Through their creative journey, these "murderers, fugitives and thieves" reveal kindness, generosity and faith. And we are left wrestling with the notions of transformation and redemption.• Official Selection - Sundance Film Festival 2005 • Official Selection - Edinburgh Int'l Film Festival 2005 • Special Jury Prize - Independent Film Festival of Boston 2005 • Best In Show - Bendfilm Festival 2005 • Crystal Heart Award - Heartland Film Festival 2005Special Features• Prisoner Commentaries • Filmmaker Commentary • Deleted Scenes • Bonus Performance Footage • Troupe Update

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Clarissa (1991) Review

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Samuel Richardson's 18th century novel of vice and virtue, revenge and manipulation begins with famously virginal CLARISSA (Acorn) Harlowe inheriting her grandfather's huge estate. But she has no interest in wealth and passes it to her father, ignoring her siblings James and Bella.
Clarissa also claims no interest in marriage but notices her sister's current beau, the notorious lady's man Robert Lovelace. Angry and jealous at being passed over, and with their parents approval, James and Bella try to force Clarissa into marrying the repulsive Solmes, a man of "material advantage." That only pushes a desperate Clarissa into Lovelace's arms, a man she does not trust but who quickly becomes obsessed with her, even though all his tried and true seduction tricks fail.
So begins the great BBC production from the early 90s. Anyone who has seen it will surely remember the exciting twists and shocks of this magnificent miniseries now on DVD for the first time.
If it all sounds stodgy, don't be deceived, this is the granddaddy of all the dangerous liaisons copycats (including "Dangerous Liaisons").
Everything about this fast moving show is top notch: acting, screenplay, production values, and direction. I can't think of a better description of this absolutely riveting drama than the original press release: "Vice was his weapon, virtue hers. Love would destroy them both."
Even if British drama is not your cup of tea, sip this delicious brew.


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Oedipus Rex (1957) Review

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(More customer reviews)This version of "Oedipus Rex" is Sir Tyrone Guthrie's famous 1957 production, which had the actors wearing masks just as the ancient Greeks did when first performing this classic tragedy by Sophocles. The masks, designed by Tanya Moisewitsch and Jacqueline Cundall, are slightly oversized and quite stylized: Oedipus (Douglas Campbell) wears a gold mask with a crown atop and a golden cloak; blind Tiresias (Donald Davis) appears entirely in white; each of the members of the chorus has a distinctive mask as one of the old men of Thebes. As befits the masks and costumes, there is a stylized formality to the acting. No one would argue that this is how the play was first performed in ancient Athens but it does suggest the general approach to Greek tragedy.
The story is well known to most audience, but attention should still be paid because the key to the Sophocles version of the tale is that the prophecy from Delphi that was told to the king and queen of Thebes is not the same that was told to Oedipus years later. A plague has come to Thebes and Creon (Douglas Rain) has returned from Delphi with word from Apollo. Creon is the brother to Jocasta (Eleanor Stuart), wife of Oedipus the king as she had been the wife of king Laius before him. He reports that the gods are angry that the murderer of Laius has not been brought to justice. Oedipus vows to do so and utters a curse upon the unknown killer. But when Oedipus demands that Tiresias reveal the identity of the killer, the blind prophet of Thebes says the king is the very man he seeks. Thus the primal crime of the man who killed his father and married his mother is reveal step by tragic step.
The English translation is by the poet William Butler Yeats, which provides its own touch of the classical for the language of the play, which has been cut down to 90 minutes for this filmed version (which is essentially of the stage production); there is also so additional dialogue, primarily an introduction by the Chorus that provides an introduction to Oedipus as the hero who bested the Sphinx and saved Thebes. There is also an introduction by an actor before the play that explains the basic idea of Greek tragedy and also draws a connection between the story of Oedipus and the Christian sacrament of communion. I like a more naturalistic approach, even with Greek tragedies, but there is something compelling about this particular production. Because this is a streamlined version of "Oedipus Rex," viewers will get a good idea of the basic structure of a Greek play, and at 90-minutes in length you can show the film in two standard class periods.
Final Note: The part of the Priest in this Canadian production is played by a very young William Shatner, not that you can tell because he is wearing a mask. This is rather ironic given that the world would come full circle when a painted William Shatner/Captain Kirk mask was used by Michael Myers in the original "Halloween" film, which would sort of be a contemporary Greek tragedy in a lot of ways.

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Scarlet Pimpernel: Literary Masterpieces (1982) Review

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(More customer reviews)My sister has raved about this film for as long as I can remember. When I failed to find it in our local video store, she told me not to worry, as she had recently bought it and would lend it to me. Well, having now seen the film, I can understand why she raved about it. It is a vastly entertaining film, filled with a smattering of history, swashbuckling action, political intrigue, romance, and droll humor. Couple all this with some very good acting and direction, and one has a must-see period piece. It is historical fiction brought to life.
Based loosely upon the novels of Baroness Orczy, the Scarlet Pimpernel is the hero of beleaguered eighteenth century French aristocrats. The Scarlet Pimpernel dedicates himself to rescuing aristocrats that, in the Republic of the post-revolution era, are destined to lose their heads in the feeding frenzy engendered by the minions of Robespierre. Just who the Scarlet Pimpernel is, the French have not a clue, other than he is believed to be an Englishman. The viewer, however, is on the secret of his identity from the very beginning.
Anthony Andrews plays the extremely foppish dandy, Sir Percy Blakeney, who is about as blue blooded as one can be and live. He is also the wealthiest man in all of England. Given to amusing his fellow aristocrats with bons mots, he also devises entertaining rhyming couplets about the Scarlet Pimpernel. Speaking in a highly affected voice and sporting the latest in fashionable attire, Sir Percy is a seemingly unlikely action hero. Yet, it is he who rescues those who are destined to lose their heads to the dreaded guillotine. It is he who is the Scarlet Pimpernel.
Since the Scarlet Pimpernel is putting a crimp into the post-revolution blood bath, the feared Chauvelin (Ian McKellen), an ardent revolutionist and hatchet man for Robespierre, seeks to capture him. Chauvelin has a soft side, however, as he is profoundly in love with Marguerite St. Just (Jane Seymour), the premier actress of France and one of its most celebrated beauties. Unfortunately for him, however, Sir Percy has just met Marguerite and been smitten. When Sir Percy romantically woos and wins the heart of Marguerite, she consents to marry him, not knowing that he is the Scarlet Pimpernel. When she marries Sir Percy, Chauvelin stops at nothing to exact his revenge, and his actions eventually cause a rift in the marriage.
What happens to Sir Percy, Marguerite, and Chauvelin is well worth seeing. Anthony Andrews is utterly charming, romantic, and drolly funny in his dual role as the dandified fop/dashing action hero who is in love with the prettiest girl in town. Jane Seymour is perfect as the beautiful thespian who captures the heart of a wealthy aristocrat, only to find, in the end, that she has married a romantic hero. Ian McKellen is effective as the angst ridden Chauvelin, who has had his heart pierced by Cupid's arrow.
This is a wonderful film. Now, having seen it on video, I am eagerly awaiting its release on DVD, so as to add it to my personal collection. It is a film that one can enjoy watching again and again.

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