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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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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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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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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Tale of Two Cities: Literary Masterpieces (1980) Review

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(More customer reviews). . .it was a good watch anyway. Chris Sarandon was outstanding in the roles he played of look-alikes Charles Darnay and Sydney Carton. He captured Carton's sardonic humor well, and evoked his melancholic fatalism and innate dignity with much pathos. A quite elderly Kenneth More put on a great performance as the officious but kindly banker, whose character provided much humorous dialogue. The character of Miss Pross, the sharp-eyed chaperone, was absolutely wonderful.

I never expect a movie to follow a novel very closely -- books and films are two completely different art forms and cannot be translated one to the other with good effect. As the movie begins we see the words "Based on the novel by Charles Dickens." With those words we are given fair warning that what is to follow is an interpretation of Dickens' vision.
What this film did was capture what is so wonderful about Dickens' novels -- the alternation between the humor and the darkness at the center of much human experience. The scenes were knit together flawlessly, so that a rather complicated plot taking part in two different places came together without confusion or awkward transitions. The pacing was artfully done, and the last 40 minutes or so were very suspenseful.
It's too bad the movie received so many bad reviews because it didn't follow the book. I've read the book and found it, like many of Dickens' works, to be wonderful, but also probably inaccessible to many readers. This film takes a good story and opens it up to those who may never open the book.

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Moliere (2007) Review

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(More customer reviews)'Molière' is a treat for the eyes as well as a tickler for historical manipulation and in the hands of writers Laurent Tirard and Grégoire Vigneron the cinematic version of the 'lost years' of Jean-Baptiste Poquelin AKA Molière's life abounds in superb entertainment. If the story becomes a bit too convoluted at times, trying to paste together a story that parallels the French playwright's most famous plays, `Le Bourgeois Gentilhomme' and `Tartuffe' as the basis for the missing portion of Molière's life, and drags on a bit too long at two hours, it is never less that gorgeous to look at and witty to hear.
Jean-Baptiste Poquelin or Molière (Romain Duris) is an actor and playwright for a comedy troupe that tours the provinces of France, spending himself into debtor's prison. His mysterious disappearance from prison is the time this film uses to explain how Molière was enticed by the wealthy M. Jourdain (Fabrice Luchini) to travel to his estate for the purpose of teaching the dilettante how to write plays and to act in order to win the affection of a wealthy young Célimène (Ludivine Sagnier) while keeping his daughter and his wife Elmire (Laura Morante) at bay. There are many subplots that tend to distract but in the end the 'play' created by Molière's presence and interaction with all of the other characters provides the life lessons and food for material that leads Molière to be the greatest of French playwrights.
The cast is superb, the visual effects are opulent, the musical score is period correct, and the cinematography finds a fine balance between the lush vistas of the countryside and estates and the grimy realism of the prison and small theaters. Perhaps the story is not historically correct, but no one really knows the true events in the missing portion of Molière's life, and this version is at least plausible and thought provoking. In French with English subtitles. Grady Harp, January 08

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Bubbling with wit, stellar performances and lavish cinematography, Molière stars multi-Cesar®-nominated French actor Romain Duris as Molière, a down-and-out actor-cum-playwright up to his ears in debt. When the wealthy Jourdain (Cesar®-winner Fabrice Luchini) offers to cover that debt (so that Molière's theatrical talents might help Jourdain win the heart of a certain widowed marquise), hilarity ensues. Disguised as a priest, Molière becomes a guest in Jourdain's palace on the pretext of teaching Jourdain the craft of the stage, which annoys his wife, Elmire. But, soon after, the confrontation between Elmire and Molière turns seductive. Too busy to notice, Jourdain enlists the aid of a well connected and scheming acquaintance, to help him pursue the young widow. Romantic yearning, human foibles and laughs galore all characterize Molière, a delightful film that slyly captures your heart.

Stills from Molière (click for larger image)

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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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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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In Edmond Rostand’s swashbuckling yet bittersweet comedy, the characters experience emotions on a heroic scale.The play’s hero, Cyrano, is a magnificent wit whose pride masks a deep insecurity about his appearance-specifically, his abnormally large nose.His compelling love for the beautiful heroine, Roxanne, is the motivating force behind all the action in the play. With words from his own poet’s heart, Cyrano wins Roxanne for another man, the tongue-tied but handsome Christian. Stars Peter Donat (War of the Roses) and four-time Oscar® nominee Marsha Mason (The Goodbye Girl).

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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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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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Cyrano de Bergerac (Broadway Theatre Archive) (2003) 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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In Edmond Rostand’s swashbuckling yet bittersweet comedy, the characters experience emotions on a heroic scale.The play’s hero, Cyrano, is a magnificent wit whose pride masks a deep insecurity about his appearance-specifically, his abnormally large nose.His compelling love for the beautiful heroine, Roxanne, is the motivating force behind all the action in the play. With words from his own poet’s heart, Cyrano wins Roxanne for another man, the tongue-tied but handsome Christian. Stars Peter Donat (War of the Roses) and four-time Oscar® nominee Marsha Mason (The Goodbye Girl).

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Lost Empires (3 DVD Set) Review

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(More customer reviews)Granada Television's 1986 "Lost Empires" is a series that proves that the whole is greater than the sum of its parts. Starring a sullen young Colin Firth, this eight-hour, three DVD set has held a place in my heart for the last 16 years. It was with much anticipation then that I opened this package and watched it anew with my family. Would it stand the test of time? Was it as great as I recalled?
Based on the novel by JB Priestley, LE chronicles the adventures of young Richard Herncastle (Firth), an aspiring landscape painter, who in 1913 accepts an offer from his hard-nosed Uncle Nick (John Castle II) to join his magic act and tour the great `empire halls' on England.
Uncle Nick promises "I'll show you the world lad!" In the process young Richard gets more than he bargained for in the way of life adventures. . Firth's Herncastle finds himself thrown together with magicians, dwarfs, sad-sack comedians, flirty torch-song singers, suffragettes and aging Sir Lawrence Olivier. And he also quickly becomes the lightning rod that somehow touches all their lives.
The first half of LE, featuring Sir Lawrence Olivier as pathetic comedian Harry Barrard, Carmen du Sautoy as sultry Julie Blaine, John Castle's riveting Uncle Nick and Beattie Edney as love interest Nancy Ellis is where Lost Empires shines! We feel the whole world opening up for Richard as he is torn between Nancy and Julie. Every night this travelling company performs authentic song and dance numbers as we see World War I looming in the background.
Of special note is John Castle. Playing master illusionist "Ganga Dun" Castle's Nick Ollanton creates a character so vivid and steely that he virtually steals the DVD.
The second half of LE slows down a bit after young Richard has learned a few life lessons the hard way. The vibrant personalities of first half give way to more outrageous, less believable ones.
The DVD transfer is what you'd expect from most Granada product of the 80's: film grain is a bit much, but the colors are good, and I quickly "saw beyond" the grain of film. The sound is actually quite clear and vibrant with a large dynamic range. I frequently was "riding" the volume control to back off the volume when the director cut from quiet dialog scenes to the Empire performance scenes. There is no info booklet to speak of with the three discs which was a bit of a letdown (Brideshead Revisited ships with a rather informative booklet by contrast.) ...
If however you are looking for a group of clearly drawn characters desperate to hold onto a way of living, performing and loving as "The New World" is about to crush them under war and the onset of "talking movies" then LE is for you. If you've got the dough to spare, get it. If you're unsure, pick up Brideshead Revisited instead.
Me, I'm happy now that my "Masterpiece Theater" DVD shelf contains the three things I've always wanted: Brideshead, Prime Suspect and now Lost Empires.

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This extraordinary Masterpiece Theatre featured production based on the novel by JB Priestley, and featuring one of the last performances of Sir Laurence Olivier, takes you to the last days of Britain's innocence and the glamorous, magical world of the great music halls - which once brought entertainment to millions.In 1913, young Richard Herncastle, played by Colin Firth, escapes from a stuffy, provincial English background into the glitter and excitement of the theatre world.Funny, sad, and nostalgic, Lost Empires, follows Richard from his naïve, country upbringing to join his uncle Nick Ollanton, a famous music hall illusionist - known as the Indian Magician, Ganga Dun.The mystery of illusions, on and off the stage, is eventually shattered for Richard, whose dream of becoming a famous painter becomes sidetracked while he contends with men gone nearly insane, the lusts of countless women, and a murder that hangs over his head.As Lost Empires opens, looming on the horizon is World War I, which will destroy so much of Britain's tradition, including the great era of the Empire music hall.Soon the cinema will replace the eccentric and colorful performers whose home is the world of variety.

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Masterpiece Theater: Oliver Twist (2000) Review

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(More customer reviews)The poor reviews this movie has received (in both the DVD and VHS formats) I feel are totally unwarranted. This is my favorite put-to-film Dickens novel (except for the various "A Christmas Carol's" out there), and I am ecstatic that this version is finally available on DVD.
Now, in this adaption, I believe the prequel works very well. I think it makes this a much more comprehensive movie and gives the characters involved (especially Monks) much more depth. And, because of the length of this version that I am reviewing, it allows the viewer to get to know each character much deeper than the other filmed versions available. We get to know Oliver's parents and Aunt Rose up close, although it is done through liberties taken by the producer and not necessarily Dickens himself. I do feel, however, the great novelist would not particularly mind in this case.
The acting is as good, if not better, than pretty much most period epics I have seen. The actors play off of each other well - they match their roles perfectly. The costumes and sets are excellent. They have captured the early Victorian period so well - both the good and the bad - it's almost as if the viewer is peering through a looking glass into the past.
As for the story following Dickens' original novel...well, I have yet to see any movie follow a novel to a "T." It just doesn't happen, unfortunately, with virtually any put-to-film novel. But this follows the original, as a whole, much much closer than the other versions I have seen - definitely more than "Oliver," and infinitely more than the Disney version with Richard Dreyfuss, which was made into a totally different story than what Dickens had intended.
Don't let the nearly 6 hour length scare you off - there is no time during this whole version where one is bored (unless they are a child - definitely not a children's movie!). Being a fan of epic period movies, I found this to be as enticing as any other epic novels put to the screen.
Bravo to all involved!

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In this extraordinary production, storyteller Alan Bleasdale broadens the scope of Charles Dickens' classic tale of an orphan in 19th century England and the characters who influence his destiny.Oliver Twist is a drama of dark comedy, astonishing vivacity and soaring imagination, but ultimately, a story that celebrates the resilience and triumph of a little boy's spirit.

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Masterpiece Theatre: Frenchman's Creek (2006) Review

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(More customer reviews)Tara Fitzgerald makes a lovely Dona and Anthony Delon portrays the Frenchman pirate of the title, Jean Aubery, to perfection. In fact all the players were selected admirably: Rockingham is disturbingly sly and manipulative, William combines the right combination of sex appeal with devoted servitude and Harry exudes vulnerability and inner strength as Dona's husband. Just like Du Maurier intended them to be, fleshed out from the pages of her novel and set on the lonely wild coast of Cornwall.
My main objection to this film, if it can be called an objection, is that it fails to tell the story of the novel. Yes, the characters are not changed and the local is the same. What differs is the setting--this story is driven by the religious revolution of 1688--Catholic King James has fled to France as Protestant William of Orange marches in from the Netherlands. Lady Dona is a Catholic fleeing the eventual destruction of the court of which she is alligned. France has declared war on England at this crucial time and so the pirate is, in a sense doing his duty, rather than ravaging the English coast simply for his own amusement as he does in the novel. Navaronne, Lady Dona's estate is not the idyllic refuge of the book, it too has transformed into a battle ground where corpses litter the roads patrolled by befeathered Orangeman troops.
There are far too many differences in this film version to comment on individually, so instead I will say that it simply does not faithfully adhere to the story told in the novel. The adventure and romance remains, but even this is twisted to appeal to a more modern day audience. Most disturbing was the addition of tension between Dona and her young daughter which unfortunately weaves its way into the dinner scene at the film's climax. The producers most likely and sadly felt that the notion of a woman wanting to escape the life she thought at one time satisfying not meaningful enough for audiences who expect the Lifetime Channel's grander causes. There is none of the frivolity that makes Du Maurier's work a delightful escape albeit with a philosophical tone.
Despite its plot differences, the film still entertains. Lady Dona remains a free spirit encumbered by her station in life. As much as I enjoyed Anthony Devon's Jean,I would have liked to have seen what he would have brought to the man-without-a-cause depicted in the book. Whether this is how Du Maurier intended Frenchman's Creek to flow, the film provides an enjoyable two hours of entertainment.

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In search of peace and solitude, wealthy Dona St. Columb retreats to her country estate in Cornwall and discovers the exact opposite. Tara Fitzgerald (The Woman in White) and Anthony Delon recreate classic romance in Daphne du Maurier's enduring story of piracy and betrayal.

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The Last of the Mohicans (BBC Masterpiece Theatre TV Mini-Series) (1972) Review

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(More customer reviews)This version of "Last of the Mohicans" originally aired via the BBC and PBS television through the excellent "Masterpiece Theater" series in 1971, and was encored in 1972. An 8-part series (each episode lasting approximately 50 minutes), this version is the closest to the original book; much closer than the widely popular Daniel-Day Lewis version theatrically released in 1992. This version has been long-sought after by collectors and lovers of "Last of the Mohicans" for years, as the rights to the series passed from the BBC several years ago. When I wrote the BBC directly several years ago, I was told that the series still did exist, but only in archival form and available to film directors and/or students that wished to preview the material in the UK. Those that wished to watch the series had to hope for a videotape set to surface from a collector or archival library edition.
Although the original Masterpiece Theater introductions by A. Cook are not included, it is highly recommended and well worth your money. Long thought scarce or lost as a production, this series contains all the elements of the original book, and does NOT change the ending, as per the 1992 theatrical version. As per the usual BBC way of producing series, the exterior shots were originally shot on film and the interiors on video. One can tell the difference between "outdoor" sets that were shot on sound stages vs. the truly outdoor shots, such as the massacre outside the fort, as well as the climatic battle between the Hurons and the Delawares. Expertly acted in every way by all cast members.

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The definitive adaptation of the James Fenimore Cooper novel, this eight-part BBC production stars John Abineri, in an Emmy-nominated performance as the Mohican Indian Chingachgook, and Kenneth Ives as the intrepid frontier scout Hawkeye. In 1757, during the French and Indian War, half-sisters Cora and Alice Munro set out to join their father, the British Commander of Fort William Henry. After they are betrayed by the villainous Huron Magua, the sisters are rescued by Hawkeye, whose efforts to lead them to safety are aided by Chingachgook and his son Uncas.

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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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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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