The Jewel in the Crown (1984) Review

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(More customer reviews)This DVD set is a real heartbreaker!
The Jewel in the Crown is absolutely one of historic the highlights of "quality" television. An absolutely arresting story. Wonderful script, wonderful acting, etc. I can't add anything on that count to the reviews already here.
That makes the TERRIBLE quality of the DVD transfer all the more disappointing. This set has literally the WORST video quality I have ever seen on a DVD! Murky, muddy picture with visible scratches and dirt on the film. The soundtrack is a little better. On my home theater setup it sounds like its coming over a half-decent clock radio. Seriously, the picture looks like they took an old VHS tape of the show and just ran it through a disc burner.
No, I don't expect blockbuster quality from an 30-year old BBC film, but I would have expected something more like the recent DVD set of Elizabeth R, which is quite watchable.
Sadly, this is almost surely the only DVD we'll ever see of this marvelous series. I'm going to rent the old tapes of this. They might easily be better. If not, I guess this is what we're all stuck with.

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Studio: A&e Home VideoRelease Date: 03/27/2001Run time: 750 minutesRating: Nr

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Brief Encounter - Criterion Collection (1946) Review

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(More customer reviews)Master director David Lean's reputation undoubtedly consists mostly of his brilliance with his epic panoramas, such as the classics THE BRIDGE ON THE RIVER KWAI, LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, and A PASSAGE TO INDIA. Of course those who look closely in these films will see that Lean chose only the best actors to flesh out real, true characters caught in the midst of overwhelming events--witness Peter O'Toole's vivid characterization of T. E. Lawrence and Peggy Ashcroft's beautiful, indelible Mrs Moore from A PASSAGE TO INDIA. With BRIEF ENCOUNTER, the actors are everything, too.
The story is simple--in a very sad, post-WWII London, two married people meet by chance at a (glorious) train station and begin a friendship which slips quickly into love. The depth of their feelings is never in question, as Trevor Howard and the incandescent Celia Johnson portray these feelings honestly and without pretense, clutter, or the manneredness of modern depicitions of love. Whether the characters will be adulterers or not is important to them; they have principles and do truly care for their existing families. Again, they are two ordinary adults in the midst of something overwhelming; how they handle the situation is what gives them grace and dignity. The use of Rachmaninoff's Concerto no. 2 in C minor, especially the adagio section, was a stroke of genius. One cannot hear the piece ever again without imagining a tear streaming from Miss Johnson's large, soulful blue eyes. Fans of romance, classic cinema, or simply great acting should not miss this experience. The DVD transfer is excellent and Criterion should be applauded again for restoring a vital classic to modern audiences.

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From Noël Coward's play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score. Criterion is proud to present Lean's award-winning masterpiece a beautifully restored digital transfer.

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Richard III (1995) Review

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(More customer reviews)A gala ball: The York family celebrate their reascent to power; the War of Roses (named for the feuding houses' heraldic badges: Lancaster's red and York's white rose) is almost over. Actually, the year is 1471, but for present purposes, we're in the 1930s. A singer delivers a swinging "Come live with me and be my love." Richard of Gloucester (Sir Ian McKellen), the reinstated sickly King Edward IV's (John Wood's) youngest brother, moves through the crowd; observing, watching his second brother George, Duke of Clarence (Nigel Hawthorne) being quietly led off by Tower warden Brackenbury (Donald Sumpter) and his subalterns. With Clarence gone, Richard seizes the microphone, its discordant screech cutting through the singer's applause, and he, who himself made this night possible by killing King Henry VI of Lancaster and his son at Tewkesbury, begins a victory speech: "Now is the winter of our discontent made glorious summer by this sun of York" (cut to Edward, who regally acknowledges the tribute). But when Richard mentions "grim-visaged war," who "smooth'd his wrinkled front," the camera closes in on his mouth, turning it into a grimace reminiscent of the legend known to any spectator in Shakespeare's Globe Theatre: that he wasn't just born "with his feet first" but also "with teeth in his mouth;" hence, not only crippled (though whether also hunchbacked is uncertain) but cursed from birth, his physical deformity merely outwardly representing his inner evil.
Then, mid-sentence, the image cuts again. Richard enters a bathroom; and as he continues his monologue we see that only now, relieving himself and talking - with narcissistic pleasure - to his own image in the mirror, he truly speaks his mind; contemptuously dismissing a war that's lost its menace and "capers nimbly in a lady's bedchamber," and determining that, since he now has no delight but to mock his own deformed shadow, and "cannot prove a lover," he'll "prove a villain and hate the idle pleasures of these days."
Thus, Richard's first soliloquy, which actually opens the play on a London street, brilliantly demonstrates the signature elements of this movie's (and the preceding stage production's) success: not only its updated 20th century context but its creative use of settings and imagery; boldly cutting and rearranging Shakespeare's words without anytime, however, betraying his intent. Indeed, that pattern is already set with the prologue's murder of King Henry VI and his son, where following a telegraph report that "Richard of Gloucester is at hand - he holds his course toward Tewkesbury" (slightly altered lines from the preceding "King Henry VI"'s last scenes) Richard himself emerges from a tank breaking through the royal headquarters' wall, breathing heavily through a gas mask: As his shots ring out, riddling the prince with bullets, the blood-red letters R-I-C-H-A-R-D-III appear across the screen.
And as creatively it continues: Richard woos Lady Anne (Kristin Scott Thomas), Henry's daughter-in-law, in a morgue instead of a street (near her husband's casket), and later drives her into drug abuse. Henry's Cassandra-like widow Margaret is one of several characters omitted entirely; whereas foreign-born Queen Elizabeth is purposely cast with an American (Annette Benning), whose performance has equally purposeful overtones of Wallis Simpson; and whose playboy-brother Earl Rivers (Robert Downey Jr.) dies "in the act." Clarence is murdered while the rest of the family sits down to a lavish (although discordant) dinner. When upon Richard's ally Lord Buckingham's (Jim Broadbent's) machinations, he is "persuaded" to take the crown, he emerges from a veritable film star's dressing room complete with full-sized mirror and manicurists (sold to the attending crowd outside as "two deep divines" praying with him). Tyrrell (Adrian Dunbar), already one of Clarence's murderers, quickly rises through uniformed ranks as he further bloodies his hands. Richard's and Elizabeth's final spar over her daughter's hand takes place in the train-wagon serving as his field headquarters; and we actually see that same princess wed to his arch-enemy Richmond (Dominic West), King Henry VII-to-be and founder of the Tudor dynasty, with lines taken from Richmond's closing monologue. Perhaps most importantly, we also witness Richard's coronation, which Shakespeare himself - honoring that ceremony's perception as holy - decided not to show; although even here it is presented not as a glorious procedure of state but only in a brief snippet rerun immediately from the distance of a private, black-and-white film shown only for Richard's and his entourage's benefit.
And challenging as this project is, its stellar cast - also including Maggie Smith (a formidable Duchess of York), Jim Carter (Prime Minister Lord Hastings), Roger Hammond (the Archbishop), and Tim McInnerny and Bill Paterson (Richard's underlings Catesby and Ratcliffe) - uniformly prove themselves more than up to the task.
Even if the temporal setting didn't already spell out the allegory on the universality of evil that McKellen and director Richard Loncraine obviously intend, you'd have to be blind to miss the visual references to fascism: the uniforms, the gathering modeled on the infamous Nuremberg Reichsparteitag, the long red banners with a black boar in a white circle (playing up the image of the boar Shakespeare himself uses: similarly, Richard's and Tyrrell's first meeting is set in a pig-sty, and Lord Stanley's [Edward Hardwicke's] prophetic dream follows an incident where Richard, for a split-second, loses his self-control). But the imagery goes even further: Richard's narcissism is reminiscent of Chaplin's "Great Dictator;" and you don't have to watch this movie contemporaneously with the latest "Star Wars" installment to visualize Darth Vader during his gas mask-endowed entry in the first scene.
"[T]hus I clothe my naked villany with odd old ends stol'n out of holy writ; and seem a saint when most I play the devil," Richard comments in the play: if there's one line I regret to see cut it's the one so clearly encompassing the way many a modern despot assumes power, too; by cloaking his true intent in the veneer of formal legality. Even so: this is a highlight among the recent Shakespeare adaptations; under no circumstances to be missed.
Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
BBC Shakespeare Histories (Henry IV Parts 1 and 2, Henry V, Richard II, Richard III) DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Henry V
William Shakespeare's Hamlet (Two-Disc Special Edition)
Grigori Kozintsev's Hamlet
Hamlet
Peter Brook's King Lear
Julius Caesar

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Shakespeare's immortal tale of ambition, lust and murderous treachery is brilliantly updated and brought to life in this riveting, 20th-century masterpiece. Boasting breathtaking performances, unforgettable imagery and two OscarÂ(r) nominations*, this astounding wartime spectacle ismesmerizing...it will rivet you and shock you(Jeffrey Lyons, 'sneak Previews ).In 1930s Britain, a savage, civil war between two royal families has just concluded. But even as the newly installed King Edward (John Wood) takes the reins of power, his ruthless, younger brother Richard (Ian McKellen) sets in motion a monstrous scheme to claim the crown for himself. Enlisting the aid of equally duplicitous allies in the court, Richard embarks on a merciless, single-minded campaign of betrayal, seduction and cold-blooded murder to achieve the goal that has obsessed him all of his tortured life: to beking...at any price.*1995: Costume Design, Art Direction

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Went the Day Well? (1942) Review

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(More customer reviews)Went the Day Well? is one of the British war movies made during WWII that were meant to strengthen morale and inspire steadfastness. The little English village of Bromley End welcomes a large number of Royal Engineers who are to work on a secret project. However, the Royal Engineers in reality are English-speaking German soldiers in British uniforms, parachuted into England to set up a counter radar apparatus which will disrupt England's radar network.
Gradually the villagers begin to suspect things aren't right, and then realize what they're dealing with. The Germans cordon off the village and show their true, ruthless nature. The villagers need to break through the cordon to alert authorities and get help. They also decide they must take action themselves to stop the Germans. This is complicated because the village houses a traitor. The climax is the Battle of Bromley End, with British Home Guard troops arriving while the Germans, attacking the manor house where they must set up their equipment, are held off by the brave men and women of the village.
If you're fond of older Brit movies you'll recognize some fine actors: Leslie Banks, David Farrar, Thora Hird, Basil Sydney, Mervyn Johns. The film is a well-constructed and effective bit of wartime home-front propaganda.

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Of all the propaganda films produced by Britain during the war, no motion picture was as shattering as this fictional - yet frighteningly real - story of heroes, traitors and graphic homeland terror. In the spring of 1942, the quaint rural village of Bramley End is occupied by a German platoon expertly disguised as friendly British troops. In the days that follow, the men, women and children of the isolated town must single-handedly outsmart and destroy the Nazi force before their invasion can spread to the rest of an unsuspecting nation. Leslie Banks, Thora Hird, Mervyn Johns and Basil Sydney star in this chilling thriller adapted from a short story by Graham Greene and produced by the legendary Ealing Studios that would later inspire both THE EAGLE HAS LANDED and RED DAWN. Rarely seen in America - where it received limited release under the title 48 HOURS - it remains as explicit and shocking a movie experience today as it was to wartime audiences more than 60 years ago.

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Foyle's War: Series 1-5 - From Dunkirk to VE-Day Review

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(More customer reviews)"FOYLE'S WAR: Sets 1-5" presents British Home Front war-life through poignant topics, compelling suspense, and many mirthful moments. Masterpiece Theatre created a 6-year running (2002-2008) British mystery masterpiece. They outdid themselves. This "War Years" series of 19 feature-length episodes is now available as a set and thus a better price. Wow, 32 hours, of sure-to-please mystery/period drama.
It is a 1940-45 Southern England countryside experience not to be missed. It serves as a home-front view documentary of the English WWII involvement and resulting life-style of the population away from the active war front. This series begins in May, 1940 when all England expects an eminent invasion from Germany. You'll learn lots about the British WW2 home-war preparedness.
On the other hand, FOYLE'S WAR is a series of some of the best 21st century written murder mystery stories ever presented on television--or theater. An interview bonus feature with creator/writer Anthony Horowitz proves that the dual focus--mystery/period drama--was intentional from day one. The combined perfection is "jolly good show." It's hard to believe--but, 19 episodes comprising 32 hours is simply not enough of "Foyle's War." You'll want to move from #1 through to #19 without stopping to sleep. It's that good.
Christopher Foyle (Michael Kitchen) is a cop who'd rather be on the war front than investigating crime in Hastings, England. His cases, almost always murder, are quite involved, and never fail to end with a surprise--or two. I'll stick my neck out--Foyle's as good as Poirot. Foyle recruits help from an ex-soldier who lost a leg. Milner (Anthony Howell) manages to do much of Foyle's "leg-work" on an artificial limb.
Foyle is assigned a female driver, "Sam" for Samantha Stewart. She's a gorgeous red-head with a winning, million-dollar smile. Sam is as much fun watching in the series as her real name indicates--Honeysuckle Weeks (The Rag Nymph; Catherine Cookson book/movie classic, recommended!) She wins "Miss Congeniality" of the 1940s decade.
Perfect attention is given to the period details; sets, costumes, vehicles, architecture, even down to NO yellow road lines.
Both Foyle and Sam speak volumes of dialogue with nothing but facial expressions. Their performances are nothing short of superb. Perfection.
Additional guest cast members of each episode are well-known stars in their own right--following the tradition of some of the top Masterpiece Theatre productions. It is understood that Foyle will continue in a NEW post-war mystery suspense scheduled for perhaps a 2010 airing.
Closed Captioning provides for the hearing impaired and those of us who struggle with some British accents and slang. The set has cast filmographies on all the top regular and guest stars.
"FOYLE'S WAR" is to British mystery what "THE PALLISERS" is to British political drama, OR what "MONARCH OF THE GLEN" is to Scottish Highland drama. After you've experienced Foyle's War, I recommend either of the other 2 series.
Foyle's War Episodes (Remember: EACH LIKE A MOVIE IN ITSELF):
* The German Woman October27, 2002
* The White Feather November 3, 2002
* A Lesson in Murder November 10, 2002
* Eagle Day November 17, 2002
* Fifty Ships November 16, 2003
* Among the Few November 23, 2003
* War Games November 30, 2003
* The Funk Hole December 7, 2003
* The French Drop October 24, 2004
* Enemy Fire October 31, 2004
* They Fought in the Fields November 7, 2004
* A War of Nerves November 14, 2004
* Invasion January 15, 2006
* Bad Blood January 22, 2006
* Bleak Midwinter February 11, 2007
* Casualties of War February 25, 2007
* Plan of Attack January 6, 2008
* Broken Souls March 23, 2008
* All Clear March 24, 2008


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Riveting mysteries set against the backdrop of World War II history
"A triumph from start to finish" --The Wall Street Journal
"Brilliantly explores the moral gray areas of war" --San Francisco Chronicle
Combining uncompromising historical accuracy with compelling mysteries, this award-winning British series opens a unique window on a significant time and place. Michael Kitchen (Out of Africa) stars as the laconic Christopher Foyle, detective chief superintendent in the English town of Hastings. As World War II ravages the social fabric of this once quiet coastal community, Foyle investigates crimes the conflict has fostered on the home front. The 19 mysteries in this collection follow the course of the war from 1940 to 1945.
Also starring Anthony Howell and Honeysuckle Weeks. Guest stars include Julian Ovenden, Corin Redgrave, Robert Hardy, Charles Dance, Michael Jayston, Rosamund Pike, Amanda Root, James Wilby, and James McAvoy.
Includes all episodes from Foyle\'s War Sets 1–5.
DVD SPECIAL FEATURES INCLUDE exclusive interviews with series writer and creator Anthony Horowitz and stars Anthony Howell and Honeysuckle Weeks, making-of documentaries, production notes, historical backgrounds, cast reflections, notes on a real-life Foyle, photo gallery, and cast filmographies.

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