Good, The Bad & the Ugly, The: Collector's Set

Good, The Bad & the Ugly, The: Collector's Set (1966)

Director(s):	Sergio Leone
Movie rating:	10/10
DVD rating:	9/10
DVD Release Date:	05/25/2004
Running Time:	179 minutes
Rating:	NR

Film & Disc Review, Good, The Bad & the Ugly, The: Collector's Set

by Rusty White
reviewed: 2004-05-01

Italian master Sergio Leone's "The Good, The Bad & the Ugly" is an epic Western of mythic proportions. Most directors never come close to making a film this good. The amazing thing about Leone is that he actually eclipsed this accomplishment two years later with "Once Upon a Time in the West." "The Good, The Bad & the Ugly" was Leone's final film with Clint Eastwood. The three Eastwood/Leone films have erroneously been called the "Dollars Trilogy" or "The Man With No Name Trilogy." The fact is, Eastwood played three different characters in the films and each one had a different name.

"The Good, The Bad & the Ugly" deals with three amoral men searching for a fortune in stolen Confederate gold. Blondie a.k.a. The Good (Clint Eastwood) is a drifter in search of easy money. He hooks up with Tuco a.k.a. The Ugly (Eli Wallach). Tuco is a Spanish bandit whose list of crimes is lengthy and imaginative. Blondie and Tuco run a scam in which the bandit is turned in for the bounty. Once it is collected, Blondie springs Tuco from jail and the pair moves on to another town. Angel Eyes a.k.a. The Ugly (Lee Van Cleef) is a hired killer. Angel Eyes always sees his job through to the end. While carrying out a contract, Angel Eyes uncovers a mystery concerning $200,000,00 in stolen gold coins. His search is on. Fate brings Blondie and Tuco on the trail of the gold also. The three have a date with destiny in a far off graveyard. The journey to that graveyard will lead all three through the perils of the Civil War.

This classic film has been restored to its original Italian premiere version. The movie was shorn of 18 minutes for its US release. As Italian movies are not shot with synchronous sound, the 18-minutes cut for US release were never looped. In order to restore this film, MGM had Clint Eastwood and Eli Wallach ADR their scenes. An actor was brought in to impersonate the late Lee Van Cleef's voice for the shorn 18 minutes.

The collaboration of Sergio Leone and Ennio Morricone rivals that of Alfred Hitchcock and Bernard Herrman as one of the richest and productive partnerships in cinematic history. Both Leone and Morricone were masters of their art. Leone's brilliant use of alternating long shots and extreme closeups coupled with Morricone's thematic music make Leone's Westerns works of art and majesty.

Leone's use of facial close-ups was second to none. Not since the days of silent films has a director said so much with the use of simple visuals. Leone chose extras and supporting actors based on their looks. You will not see an uninteresting face in any Leone film. His use of wide, long shots in this film are among his best. The film was shot in Spain and Italy. When Leone came to America's Monument Valley for "Once Upon a Time in the West" he captured his most memorable widescreen images.

"The Good, The Bad & the Ugly" set the stage for "Once Upon a Time in the West" in another way. In this film, Leone had three lead characters. Leone wanted to have Eastwood, Wallach and Van Cleef play the three gunmen Charles Bronson faces in the amazing opening of "Once Upon a Time in the West." Eastwood, Wallach and Van Cleef each carry a significant part of the film. Eli Wallach steals the movie and delivers his most memorable screen performance as the deadly, but likable Tuco. Lee Van Cleef rivals Henry Fonda as Leone's greatest villain. Angel Eyes is a viper. The role made an international star out of the long time support player. Clint Eastwood not only improved as an actor on this film, he also learned methods he would later employ as a director.

I could ramble on for hours about this film. I won't, except to say that this DVD is a must have for any film fan.

The Disc

Outstanding movie, picture and extras. One small complaint about the sound.

Picture Quality: 10/10

One of the DVD's documentaries deals in part with the visual restoration of this film. The film was shot in Technoscope, a process that squeezes the image onto a square frame. The film is unsqueezed through the projector. It is a lost process. Fortunately, the company that restored the film still had the equipment and expertise to work on this film format. The result is a brilliant picture. Leone's scenic vistas are shown in all of their glory. David Leane never made a Western. He didn't have to. Leone had those epics covered. No pixilation, artifacts or delineation problems. The colors are rich and well-saturated.

Sound Quality: 8/10
There are a couple of places where the dialogue fades out. Most notably during the scene in which the sheriff reads off all of Tuco's crimes before attempting to hang the bandit. It is a shame that these lines are almost inaudible as it is a very funny scene. During the scene in which Blondie strands Tuco in the desert, one of Tuco's lines also disappears. Otherwise, the sound is great. Much effort was made to sync the sound to the actions on screen. One of the drawbacks to non-synchronous sound recording is that words and actions don't always match. While there are still a couple of mismatched acts, this track is still a big improvement over previous version.

Easter Eggs:

There are three Easter Eggs on the Special Features Disk. Push the Left button on your remote as you go down the menu and you will highlight three different Icons. Each contains an interview snippet concerning some humorous aspect of the film's production. Clint Eastwood provides one and Eli Wallach the other two.

Extra Features: 10/10
Where to start! The extras are superb. "Leone's West" and "Leone's Style" are documentaries concerning the making of this film and Leone's directorial style. "Reconstructing GB&U" is great from a technical POV. The featurette goes into detail about how the film was restored. Lots of good info for the techno geek within.

"The Man Who Lost the Civil War" is a documentary about Confederate General Sibly's failed expedition into the West. Silby wanted to obtain a Pacific port for the confederacy. He got as far as present day New Mexico. Sibly's campaign is the backdrop for Leone's film. Critics who said that Leone was wrong to place a Civil War battle in the West need to watch this documentary.

There is a nice featurette and companion audio analysis of maestro Ennio Morricone's work. Morricone's music is almost another character in this film.

For memorabilia fans, the DVD includes five suitable for framing reproductions of foreign posters for the film.

There is an 8-page booklet, which includes a 2003 essay on the film by critic Roger Ebert.

The DVD contains two deleted scenes. There is an extended version of Tuco's torture scene in the Union POW camp. The scene came from a foreign print of the film. It was too damaged to be included into the restored version of the film.

The second deleted scene was not completely filmed. The "Socorro" scene has been reconstructed with surviving stills and film clips. The scene involved Blondie, once again, getting the better of Tuco.

Film critic and historian Richard Schickel provides another great commentary track. Mr. Schickel is well known to DVD fans for his many informative commentaries on classic and cult films. This one is no exception.

The Final Word:

Just in time for Father's Day! "The Good, The Bad & the Ugly" is "The Great, The Great & the Great! "

Horrors of the Black Museum

Horrors of the Black Museum (1959)
Movie rating:	6/10
DVD rating:	7/10
Release Date:	April 29, 2003
Running Time:	1 hour 34 minutes
Rating:	NR
Distributor:	VCI Entertainment
List Price:	$19.99

Disc Details
Special Features:	Widescreen anamorphic format Chapter selection Archival commentary by producer Herman Cohen Commentary by film critic David Del Valle and composer Gerard Schurmann 3D motion menues Video tribute to Herman Cohen Phone interview with Herman Cohen Original US and European theatrical trailers "Hypno-Vista" opening Photo gallery Booklet/movie poster Region 0 DVD Sneak peeks
Video Format:	Anamorphic Widescreen (2.35:1) [SS-DL]
Languages:	English (Dolby Digital 2.0) Mono French (Dolby Digital 2.0) Mono
Subtitles:	English, Spanish, French.
Captions:	Yes
Casing:	1-Disc Keep Case

Review

Herman Cohen's "Horrors of the Black Museum" begins with one of the more infamous scenes of the 1950s. A young blonde woman receives a pair of binoculars in the mail. As she raises the gift to her eyes, 5-inch spikes shoot out of the lens aperture and into her brain. Even though you don't actually see the penetration, the scene is very effective. I first saw this movie in the early 1960s. It became a childhood favorite. I did my best to never miss it whenever WHBQ would show it on "Fantastic Features" with your host Savid.

I have been looking forward to VCI's release of "Horrors of the Black Museum" for quite some time now. I wanted to find out if this beloved movie from my childhood still held up. It does and it doesn't. I found that the movie no longer scared me, but I also found that it did make me laugh and smile. "Horrors of the Black Museum" is a ham and cheese classic. The great thing about this VCI DVD is that you learn a little about the gimmicks of B-movie promotion through the extensive extras provided. Let's talk plot before we get to the extras.

George Bancroft (Michael Gough) is a British crime writer. The arrogant scribe loves to point out the shortcomings of Scotland Yard. The above mentioned binocular murder is just the latest in a series of grisly murders plaguing London. Each time someone is killed, Bancroft hobbles into the office of Superintendent Graham (Geoffrey Keen: the minister of defense in the James Bond films) to gloat. Bancroft also has a habit of checking in with his doctor after each murder. I am not giving anything away when I reveal that Bancroft is more than a little involved in the killings. This is revealed in the previews.

Bancroft has a museum of death in his basement. The room is filled with dioramas of famous murders as well as an arsenal of various torture devices. Bancroft has a faithful aide, Rick (Graham Curnow) who assists with Bancroft's writing and other activities. Rick is dating a redheaded hottie (Shirley Anne Field) who wishes he would spend more time with her and less time playing Igor with Mr. Bancroft.

That is all plot you really need to know. "Horrors of the Black Museum" contains several implausible but entertaining murders. None are as inventive as the binocular scene, but the movie keeps you attention. I watched this movie with one of my son's friends. My son couldn't tear himself away from his video games. We found ourselves cracking wise throughout the movie ALA "Mystery Science Theater 3000." Like many of Herman Cohen's B-movies, "Horrors of the Black Museum" is cheesy fun. Michael Gough delivers one of the most over the top performances you are likely to see. That is saying something considering the nature of the genre.

The Disc

Full movie. OK picture and sound. Great extras.

Picture Quality: 6/10
I don't know what is wrong with the picture. The transfer was made from a European remastered version. This movie was shot in Cinemascope. When I played the DVD on TV, a large portion of the picture was missing on both sides. I knew that VCI had delayed the original release of this DVD, so I wondered if the company, which did the transfer, had screwed up. I intended to do a screen capture of the opening credits to give you some idea of how much picture was missing. Funny thing is, when I put the DVD in my computer to do the video capture, the entire frame was present. So, I can watch the entire movie on my computer, but on TV a third of the picture is missing from the sides. Go figure.

The colors are very vivid. The blood is Technicolor red, very much like a harlot's nail polish. The flesh tones are good. The picture is soft around the edges. There are some delineation problems during the final "fun fair" sequence.

Sound Quality: 7/10
The mono track is a bit flat at times. This could be due to the flat acting by British sex symbol June Cunningham as Bancroft's blonde floozy. There is no loss of dialogue.

Easter Eggs:
No Easter Eggs found during review.

Extra Features: 10/10
As they did with "City of the Dead" and "The Mark," VCI has gone the extra mile to put together a great package of extras. These three DVDs show VCI's dedication to improving their place among the purveyors of vintage movies.

I have a soft spot in my heart for the films of Herman Cohen. I grew up watching his work. This DVD includes a number of extras focusing on Mr. Cohen. The commentary track was created from archived material in which Mr. Cohen discussed the film. It is a lot of fun. Also included is a video tribute to Mr. Cohen narrated by his close friend Didier Chatelain. It is informative and contains a great many pictures and clips. Also included is a 15-minute phone interview with Mr. Cohen by Scarlet Street publisher Richard Valley. The phone interview is hard to hear at times, but still worth listening to. The interview is accompanied by a video montage of the movies being discussed.

B-movies of the 1950s were often promoted by such gimmicks as life insurance policies in case you died of fright, or nurses in the lobby to assist those who ran screaming from the theater. Such devices were often more inventive than the movies themselves. "Horrors of the Black Museum" was also promoted with the gimmick of "Hypno-Vista." The DVD includes the 13-minute "Hypno-Vista" opening. What this is, is a boring lecture on hypnosis by British psychologist Emile Franchel. Dr. Franchel's film clip supposedly was designed to hypnotize the audience in order to enhance the movie.

The US and European trailers also show how horror films of the era resorted to gimmicky promotion. The US version features Dr. Franchel sticking needles through a young woman's arm while she smiles, oblivious to the pain. I liked the British approach to the trailer better. Dr. Franchel is nowhere in sight. Instead, the British trailer make use of the films "X Certificate" rating. When ever a gory scene (by 1959 standards) is about to be shown, the censor blocks the screen and tells the audience the only way they can see the shocking and unspeakable events of this "X Certificate" movie, they will have to go to the theater.

The second commentary track by David Del Valle and Gerard Schurmann also includes a number of insights into Mr. Cohen and his work. The DVD also includes a good photo gallery and biographies of the main cast members. There is a booklet insert, which unfolds into a reproducing of a Spanish movie poster. The poster is sexploitive in a fun sort of way. Ironically, it is made up of artwork of scenes that are nowhere to found in the movie. Such is the nature of B-Movies!

The sneaks include other VCI horror film releases like Dario Argento's "The Bird with the Crystal Plumage," Mario Bava's "The Whip and the Body" and "Blood and Black Lace,"Curtis Harrington's "Ruby" and John Moxley's "City of the Dead." each of these DVDs include great transfers and extras.

The Final Word:
Another great attempt by VCI to give the royal treatment to an older, well-loved cult classic. Please support these efforts by VCI so they will continue to release such titles in the future. Anchor Bay needs the competition.

Films of Alejandro Jodorowsky, The

Films of Alejandro Jodorowsky, The (1971)

Director(s): Alejandro Jodorowsky
Movie rating: 8/10 DVD rating: 9/10 DVD Release Date: 05/01/2007 Running Time: 393 minutes Rating: NR Disc Details

Distributor:
Anchor Bay

List Price: $49.98

Running Time: 393 minutes

Special Features:
Feature film: El Topo (1971)
Feature film: Fando y Lis (1968)
Feature film: The Holy Mountain (1973)
Short film: El Cravate (1957)
Soundtrack CD: El Topo
Soundtrack CD: The Holy Mountain
Documentary: La Constellation Jodorowsky
Director's commentary on the three feature films
Theatrical trailers
Featurette: The Tarot (with commentary)
Photo galleries and script excerpts on each feature film
Restoration featurette for The Holy Mountain
Deleted scenes for The Holy Mountain
A Conversation with Alejandro Jodorowsky

Video Format:
Anamorphic Widescreen (1.85:1)

Language Tracks:
El Topo: Spanish (Dolby Digital 5.1)
El Topo: Spanish (Dolby Digital 2.0)
The Holy Mountain: English (Dolby Digital 5.1)
The Holy Mountain: English (Dolby Di

Subtitles:
English, Spanish, Brazillian Portuguese, French

Closed Captions:
Yes

Casing:
6-disc Keep Case

Film & Disc Review, Films of Alejandro Jodorowsky, The

by Rusty White
reviewed: 2007-05-10

When I was a budding film buff (circa 1970) I spent many hours in the main branch of the Memphis Public Library reading movie books. I wasn't old enough to check out the ones I wanted to, so I spent many hours reading about films that I hoped to see one day. Alejandro Jodorowsky's "El Topo" was forbidden fruit for me. I remember being mesmerized by the tempting images involving gunfighters, freaks and lesbians with whips. The library had a copy of the script which I read over and over, trying to make out what secrets Jodorowsky would reveal. It was several years before I saw the film. I'm not sure I understood it even then. Tell the truth, I'm not sure I get it today. I am still mesmerized by the director. His work can be as tough to fathom as a Fellini film. In fact, I'm almost positive that some of his films can be only understood by Mr. Jodorowsky himself. Alejandro Jodorowsky has made eight films during his career. Anchor Bay's boxed set includes the first four films in his oeuvre.

La Cravate (1957)

This long-lost short film is the directorial debut of Alejandro Jodorowsky. A copy of the film was discovered in a German attic in 2006. This short film is a pantomime adaptation of a Thomas Mann novel. The plot involves a Man trying to impress a woman. She can't be impressed. The Man discovers a shop in which one can trade in their head. He enters the shop at the same time as a boxer. The Boxer changes his head with that of a dapper Casanova type. The Man is horrified and leaves the shop. He returns to the Woman only to be rebuffed again. In desperation, the Man returns to the shop and trades in his head. I leave it at that. The 16mm film was shot in color. Lots of close-ups. Look up Art Film in the dictionary and you will find this or a film similar to it. The message of self-acceptance is pretty straight forward. "La Caravate" is the most coherent film in this series. It isn't the most entertaining or challenging of the set.

Fando y Liz (1968)
This film will evoke three responses. 1: That sucked. 2: WTF! 3: OK, who slipped me the hit of acid? I think most people will have the second reaction. What the fuck! The movie doesn't suck, but it does make no sense. Of course, it is a surreal film, so it may not suppose to make sense. The problem is that it doesn't really evoke much thought either. Jodorowsky saved that for his next two films. "Fando y Liz" was Jodorowsky's first feature film. It tells the tale of two young lovers searching for paradise in a post-apocalyptic world. Fando can't get it up. Liz is a paraplegic. They hear about Tar, the last city to survive the apocalypse. Tar represents paradise. Nothing will be denied the senses in Tar. The pair sets out on an odyssey across a rubble strewn landscape. They encounter increasingly weird people and events. There are scenes in the movie that are very hard to stomach. It isn't hard to see why this film found an audience with the drugged-out counter culture folks of the 60s.

El Topo (1970)

Jodorowsky's best known film is the cult classic "El Topo." A surreal, philosophical, Zen, Spaghetti Western. Jodorowsky plays El Topo, a great gunfighter in the world. This crazed and ultra violent film began the midnight movie craze. "El Topo" does make the viewer think. In fact, you can read just about any message into this movie that you want to and probably be right. In order to become the best gunfighter in the world, El Topo must defeat the four masters of the desert. Each of the battles is rich in social, political and religious symbolism. The final section of the film has El Topo as some sort of monk bringing the wrath of God down on the rich, hypocrites that rule this strange land. There is much more to the film. The visuals are stunning. This was Jodorowsky's final film shot in 16mm.

The Holy Mountain (1973)

This movie was a revelation. Though surreal, "The Holy Mountain" is the most coherent of Jodorowsky's feature films. Jodorowsky the seeker takes the viewer on a psychedelic journey into the soul of man. The film is divided into three segments and culminates in a quest for immortality upon the Holy Mountain. The movie is funny and profane. There are few Icons which do not get trampled into the mud. The movie also includes many memorable quotes: "You sacrifice completes my temple of 1,000 testicles" and "Rub your clitoris on the mountain!" Believe it or not, each of these lines actually makes sense in the context of what you are watching. While "El Topo" cemented Jodorowsky's place in the pantheon of cult film directors, "The Holy Mountain" shows him to be a talent on par with the likes of Ken Russell. The movie will surely offend as many people as it touches. I was refreshed by how funny and accessible the movie was. The ending calls into question all of Jodorowsky's other work. "The Holy Mountain" is a movie that requires a number of viewings to even come close to understanding. I'm not sure if all of the symbolism is understandable. Even with the great commentary track. One thing is for sure, the movie is entertaining and maybe even enlightening.

The Disc

A surreal trip down memory lane, especially if you memory was destroyed by a number of acid trips. Great picture, sound and extras.

Picture Quality: 10/10
From a technical POV, "The Holy Mountain" is light years ahead of the other films in the set. The movie is presented in beautiful 2.35:1 aspect ratio. It was also shot on 35mm. The other films in the boxed set were shot on 16mm. Each film was restored. The only artifacts I saw were on the short film "La Caravate."

Sound Quality: 10/10
What great sound tracks. What amazing sound effects! What chilling and horrific noises! These films are as aurally stunning as they are visually stunning.

Easter Eggs:
No Easter Eggs Found on Disc.

Extra Features: 10/10
Music lovers and soundtrack collectors will love that the boxed set includes the soundtrack CDs for "El Topo" and "The Holy Mountain." I enjoyed the second soundtrack the most. An excellent mix of rock and Eastern/New Age.

The three feature films included 'can't be missed' audio tracks by this great director. All three tracks helped me appreciate the films even more. Watch the movies without the tracks first. If you are someone who will buy this boxed set, you already plan on watching each film a number of times. This is a set for film students if there ever was one.

The DVD includes the 1994 documentary "La Constellation Jodorowsky." The 91-minute film features extensive interviews with the director and others such as Peter Gabriel and Marcel Marceau. The film spans the scope of Jodorowsky's career up until that point. Fascinating stuff. The same can be said for the interview with Mr. Jodorowsky on the "El Topo" DVD.

The Final Word:

This boxed set can be a journey of discovery for the spiritual seeker. It can also be a semester in film school for the up-and-coming film student. What it is for the film buff is pure ecstasy.

The Slave: Blu-ray + DVD Combo: Limited Edition - 3500 Copies Only

Limited Edition - 3500 Copies Only
The Slave
Blu-ray + DVD Combo
Label: Mondo Macabro
Pre-book: 8/12/2014 Streets: 9/9/2014 SRP: 29.95
UPC: 843276015596 Cat: MDO155 Run Time: 100 Minutes
In Italian. Genre: Erotica Color
Widescreen Anamorphic 2.35:1 Dolby Digital Mono Region 1
Production year: 1969 Rated: NR
Director: Pasquale Festa Campanile
Stars: Haydee Politoff, Rosanna Schiaffino, Romolo Valli, Gabriele Tinti

Silvia (Haydee Politoff) is young, beautiful and rich. She has everything - except the bondage and humiliation she craves to fulfill her erotic yearnings. Margaret (Rosanna Schiaffino) is a legendary movie star who loves to wade thigh high in 10,000 lira bank notes - and who is only too happy to give Silvia what she wants. In a strange, secluded house in Rome, the two women create a bizarre private world where Silvia's fantasies become real, as Margaret turns her into a slave, a plaything of flesh, subject to the whims of an all powerful owner who can use her in any way she desires. Pasquale Festa Campanile (Hitch-Hike) directs a masterpiece of decadence, packed with sumptuous and shocking images. A brand new HD transfer from the original Techniscope negative. From the director of The Libertine and When Women Had Tails. Based on a scandalous European novel in the tradition of Story of O and The Image.

Bonus Features include:
Brand new transfer from film negative
Interview with critic Roberto Curti
Justin Harries of Filmbar 70 on Italian genre cinema
Interactive filmographies
Trailers
Deleted scenes
Mondo Macabro previews

The Devil's Business: Blu-ray + DVD Combo

The Devil's Business
Blu-ray + DVD Combo
Label: Mondo Macabro
Pre-book: 9/16/2014 Streets: 10/14/2014 SRP: 29.95
UPC: 843276015695 Cat: MDO156 Run Time: 75 Minutes
In English Genre: Horror Color
Widescreen Anamorphic 1.78:1 DTS 5.1 Surround Region 0
Production year: 2011 Rated: NR
Director: Sean Hogan
Stars: Billy Clarke, Jack Gordon, Jonathan Hansler, Harry Miller

Veteran hitman Pinner (Billy Clarke) and his young, inexperienced ward Cully (Jack Gordon) break into a house at night, awaiting the return of owner Kist (Jonathan Hansler) whom their gangland boss Bruno (Harry Miller) wants dead, with no questions asked. As midnight approaches, Pinner keeps the nervous Cully entertained with an eerie story about a previous hit he had carried out on a beautiful striptease dancer. Before he can finish his tale, a sound from outside the house draws them into the night, and to a horrifying discovery that plunges them into the shadowy darkness of their own tortured souls. The Devil hasn't finished with them yet!

Bonus Features include:

Interview with writer/director Sean Hogan and producer Jennifer Handorf
Director and Producer audio commentary
Interview with actor Billy Clarke Interview with composer Justin Greaves
Behind the Scenes
Music videos Crippled Black Phoenix and Se Delan
Outtakes
Mondo Macabro trailers

Far From Heaven: Gay Pride and Prejudice

Director:	Todd Haynes
Starring:	Julianne Moore, Dennis Quaid, Dennis Haysbert, Patricia Clarkson
Length:	1 hour 47 minutes
Rated:	PG-13

I'm still not sure what to make of Todd Haynes's "Far From Heaven." I wonder if director Haynes intended the film to be a serious drama, a "queer cinema" homage to the films of George Cuckor or one of the darkest, camp movie in-jokes of all time. Whatever his intentions, "Far From Heaven" works on all these levels. Like David Lynch's "Blue Velvet," Mr. Haynes takes the viewer on a tour of the hidden life below the surface of an ideal suburban family circa 1957.

Frank and Cathy Whitaker (Dennis Quaid and Julianne Moore) are the perfect couple. Frank is the wonder boy of the Magnatech Company. He works hard promoting innovative television equipment so as to keep his wife and two children living in the lap of luxury just outside Hartford, Connecticut. Cathy is the ultimate wife. She maintains her posh home, with the help of Sybil (Viola Davis)her 'colored' maid and Raymond (Dennis Haysbert) her 'colored' gardener. Of course, Cathy is a 'liberal.' She admires and supports (with lip service only) the NAACP. Yes, Frank and Cathy are living the Norman Rockwell dream. Except for Frank's 'problem' that is.

"Far From Heaven" opens with a lush, beautifully shot panorama of Americana. There has not been a film shot in this style since the late 1950s. Elmer Berstein's score rises to a dramatic crescendo as the movie's title flashes on the screen in bold, flowery letters. The camera follows Cathy as she returns home from shopping. Cathy speaks in curt, proper Yankee tones. She meets her kids, maid and best friend at the end of her driveway. After ordering Sybil to put up the groceries, Cathy talks with Eleonor (Patricia Clarkson) about the posh engagement they will be attending that evening. Both women have every hair in place, and not a petticoat is ruffled. Of course, Cathy will not make it to the party. Instead, she receives a phone call from the Hartford police. Frank tells her there has been some sort of mix up. The police picked him up for 'loitering.' Cathy dutifully picks her husband up from jail and doesn't ask any questions. She doesn't even read the police report the desk sergeant hands her. After all, Cathy and Frank ARE 'Mr. and Mrs. Magnatech'!

Turns out that Frank is having a reoccurrence of his 'problem.' Frank is fighting to stay in the closet, but those damn hormones won't let him be. After Frank spends several late evenings at the office, Kathy surprises him by bringing his hot dinner to him at work. The closet door is broken down when Cathy catches Frank making out on his desk with a man he met in a bar. This is not something that Cathy can discuss with her friends. Raymond catches Cathy crying in the back yard. He offers her comfort. Raymond isn't your usual gardener. Raymond has interesting opinions about such diverse topics as modern art and poetry. Cathy and Raymond become friends. After all, Cathy believes in the NAACP. None of her friends do, and the once popular socialite finds herself on the outs with her privileged friends. "Far From Heaven" examines the topics of homosexuality and racial prejudice in a unique manner.

If you were to watch "Far From Heaven" without any sound, you would swear you were watching a big budget, Technicolor film from the 1950s. I haven't seen such lush photography and art direction on the big screen except when older films have been re-released after being restored. Todd Haynes's eye for detail is amazing in this film. During the 1950s, the production code began to lose its grip on the morality of the movies. More mature topics were being dealt with in films like "Peyton Place," "The Bad and the Beautiful" and "Imitation of Life." The rules weren't completely relaxed. American Filmmakers of the era were limited as to what they could show and discuss. Topics such as rape, homosexuality, incest and adultery were spoken of in cinematic code. If you were sharp, you knew what was going on. Haynes pays tribute to that code in one of the best scenes in the movie. After Cathy's shocking discovery, Frank comes home to find her sitting on the couch. Both characters are partially shrouded in shadows. The shadows symbolize Cathy's confusion and Frank's hidden life. They discuss what happened in half sentences. Nothing is said overtly, but everything is said 'in code.' It is a powerful scene which both shows the dilemma of dealing with taboos subjects during a time when such things weren't discussed, or even imagined by people like the Whitakers. Dennis Quaid's face almost looks like a plastic Ken doll during the scene. His stoic facade as 'good husband' is crumbling. His 'problem' is rearing its ugly head. After this powerful scene is over, you see that the couple is going to try and seek professional help. You know this, even though it wasn't said. This is but one brilliant scene, in a movie full of such scenes.

Dennis Quaid has never been better in his career. Mr. Quaid's mannerisms, inflection and on screen choices show a level of acting talent he has only hinted at in the past. The choice of Dennis Quaid for the role was a stroke of genius. Quaid's All-American, rascal persona makes him an unlikely candidate to be a homosexual. Cathy's friend Eleonor says "Never in a million years would I have thought Frank..." Neither would the moviegoer. Quaid is assured an Oscar nomination.

Julianne Moore is a wonder to behold as Cathy. She is a Stepford Wife whose circuitry has gone bad. She has a warm blooded heart trapped in a plastic Barbie doll world. Ms. Moore's eyes alone should be nominated for an Oscar. She wants to break through to a real place that can't comfortably exist in her well-manicured life. She realizes that the world's moral impositions are corrupt. She wants to be able to treat others like real people. She is weak though, and doesn't like the pain others inflict on her for daring to be a caring human being.

Dennis Haysbert (the doomed getaway driver in Michael Mann's "Heat") as Raymond gets to deliver the only 'free' performance in the entire movie. Raymond is flesh and blood. He knows the rules. He dares to bend them, but he also knows the consequences if he does. Cathy is mesmerized and enticed by his freedom. Cathy wants to think for herself also. Cathy doesn't know the score though. Mr. Haysbert and Ms. Moore have great onscreen chemistry. Mr. Haysbert has shown himself to be a thoughtful and intense actor in the past. Hopefully this role will lead to more substantial roles in the future. He has what it takes to be both a leading man and a great character actor. I'm glad somebody besides me has realized this, because I don't have the power to cast him in roles that usually go to Denzel Washington.

Quills: The Pen is Mightier Than the Cat o'nine Tails

Director:	Philip Kaufman
Starring:	Geoffrey Rush, Kate Winslet, Michael Caine, Joquin Pheonix
Length:	2 hours 3 minutes
Rated:	R

      As the credits roll over a dark screen, the heavy breathing of a woman is heard. The woman's face appears on screen and a voice over tells the viewer that this woman was a passionate person who's lust knew no bounds, for whom nothing was forbidden. The viewer finds themselves becoming aroused as the young woman pants. The voice over informs us that the woman then met a man who's own tastes and appetites surpassed her own. The large heavy hands of the man come in to frame and cup her face. Are they lovers? No. He is her executioner. Director Philip Kaufman's camera pulls back and reveals that this woman is standing on the scaffold during the reign of terror that was the French Revolution. The voice belongs to the Marquis de Sade who witnesses the beheading from his cell in the asylum at Charenton. Director Kaufman expertly set the audience up with this brilliant if upsetting opening sequence. An audience which was quickly finding itself aroused is suddenly shown a little bit more which sends them into a state of confusion. This is art at work. The essence of artistic expression and those who would censor objectionable material is the question at the heart of this masterpiece.

      Who better to carry on a dialogue about the freedom to read, write or think what one wants than the Marquis de Sade and a truly open minded and compassionate cleric? Philip Kaufman's brilliant "Quills" is a disturbing, erotic, and profoundly deep examination of the freedoms guaranteed us by the first amendment. Adapted for the screen from his play of the same name, Doug Wright examines the rights and responsibilities that an artist has in their quest for artistic expression. The choice of de Sade as the catalyst for launching this free speech dialogue was a brilliant choice by writer Wright. Some of the topics touched on in this movie include sodomy as a vehicle for religious desecration, pederasty and necrophilia. Needless to say, most would find these subjects indefensible in art. If society is to be free of the thought police, then these subjects must be as accessible to the masses as are other more mainstream forms of art and literature. I strongly believe this. This movie is hard to watch at times. There is no way to sit through "Quills" and not reexamine your thoughts on this important subject matter.

      Set almost entirely with in the confines of the infamous asylum for the criminally insane at Charenton, the plot of "Quills" deals with the attempt to silence the pen or quill of its most notorious inmate, the Marquis de Sade (Geoffrey Rush). Through Madeleine (Kate Winslet), a sexy chambermaid, de Sade smuggles out manuscript pages of his book Justine for publication. Once published, the sadomasochistic novel is brought to the attention of the emperor Napoleon. As Napoleon sits for his portrait, on of his advisors reads him a passage from the book in which Justine is sodomized by a high church official using a communion wafer. Napoleon orders de Sade shot, but the advisor persuades the emperor to do what others have failed to do, cure the Marquis. Along these lines, Dr. Royer-Collard (Michael Caine) is enlisted to bring his medieval methods to bear on the horny free spirit. The asylum is run by Father Coulmier (Joaquin Phoenix). Father Coulmier is a compassionate priest who believes that if the Marquis is allowed to write, he will exorcise the dark thoughts which pervade his soul. Dr. Royer-Collard is sent to put pressure on Father Coulmier to tame de Sade. Father Coulmier was unaware that the novel Justine had been published. Father Coulmier appeals to de Sade's rational side to persuade him to cease publishing his work. Of course he fails at this. I will reveal no more of this rich conflict.

      The ideas examined in this movie are the real reason to see "Quills," however, the film is populated with brilliant performances by all involved. Geoffrey Rush is perfect as one of the most evil humans ever to draw a breath. It is ironic that, as written, the Marquis is a sympathetic character. I won't educate the reader as to the historical nature of the Marquis other than to say that he was not the nice guy we see in this movie. As in "The People Versus Larry Flynt" the pornographer is presented as a hero of free speech. As a tool to further such a discussion, I applaud the choice of using the Marquis. Were the movie's purpose to promote the torture of women, as the real de Sade did, then I would be outraged. That is not the case here, and I believe such criticism is politically correct tripe and censorship of the darkest nature. Rush, as with several other's in the cast, delivers an Oscar worthy performance.

      Michael Caine as Dr. Royer-Collard is a sinister and truly dangerous man. The likes of Dr. Royer-Collard present more of a threat to society than de Sade ever did. This supposed man of God is cut from the same cloth as Vincent Price's character is the brilliant "Witchfinder General." Dr. Royer-Collard says that he is not here to win any popularity contests, he is here to get results. His idea of therapy is a barbaric dunking chair applied vigorously over a period of months. Caine too delivers an Oscar caliber performance. You hate this man and all he stands for.

      Doug Wright is to be praised for writing the character, Father Coulmier. Wright goes against the typical Hollywood grain and creates a Christian as a real human character. Phoenix brings this three dimensional character to life. He holds his own against these seasoned veterans. He shows a range of talent which he has never shown before. While Dr.Royer-Collard presents the argument for total censorship, Father Coulmier presents the argument for tolerance and understanding. Strange world when the man of science is a close minded bigot, and the man of God preaches tolerance and understanding. While he doesn't condone the content of de Sade's work, he believes it has a purpose. I was impressed that Father Coulmier actually read the Marquis' work before discussing it with him. I thought this was a nice touch on Mr. Wright's part, especially in light of the religious right's reaction to Scorsese's "Last Temptation of Christ." Many from the right condemned the work sight unseen. I was upset and offended by that film, but I took the time to watch it before discussing it with others. I again thank Mr. Wright for writing such a character. Some who read this, may wonder about this praise after seeing what becomes of Father Coulmier. I respond by saying that we all have a dark side to us, none is immune.

      Kate Winslet is also wonderful as Madeleine, a poor peasant girl work works as a chambermaid at the asylum. Madeleine is the virginal object of love of both the Marquis and Father Coulmier. She too loves Father Coulmier but realizes that there is no future with the handsome young priest. Maybe this is what draws her to the Marquis. I know this sounds cliched but there is no other way to say it: Oscar worthy. She is such a warm, funny, sensual person. Her character is the heart of the film in that she represents the public and how they are affected by unrestrained artistic expression. At one point, Father Coulmier says to her, "if I knew your tastes (her enjoyment of de Sade's writing) I never would have taught you to read." It is ironic that the historic de Sade reveled in the torture of women, but in this film women are liberated by reading his work. The literary license may be forgiven considering the end result of the movie.

      Director Kaufman has created a truly adult movie. Kaufman is the only American mainstream director who discusses adult topics in an adult manner. I thank Mr. Kaufman for not dumbing down his subject matter. As he did in "Henry and June" and "The Unbearable Lightness of Being" Kaufman examines human sexuality in a serious and insightful manner. I wish more directors had his balls.

      "Quills" is filled with disturbing images and words. But thank God we live in a country where we have the right to view, say and hear such words and images.