Guy33134 Reviews

Sheer Madness (1983)

Good take by "Von Trotta" on two different feminine worlds

[9/10 · 24 March 2006]

Director Margarethe Von Trotta is one of the most feminine issue-oriented film makers Europe has produced in the last 30 years. She has explored many facets of the German and Italian female universe in particular. In this film, she shows the catharsis experienced by two different women from two distinct worlds as a result of their unlikely friendship.

This 1982 film, which I recently saw at a Von Trotta Retrospective, now has a crispy clear image which makes it look fresher than recent films. Since the subject matter is not date sensitive, one would think the film is brand new. However, if you know the two main actresses (two of Germany's greatest in the 70s and 80s), you'll know it's not as recent as it looks.

The two actresses in the two main roles are Hanna Schygulla (also a Fassbinder muse) and Angela Winkler, who was Von Trotta's "Katharina Blum" some seven years before this performance. Winkler gives the stronger performance as Ruth, a mentally challenged artist with potential reactions like her "Katharina Blum" character.

Schygulla is the apparently more centered Olga. She will help Ruth, and have a hand in Ruth's transformation, but she will also be affected by Ruth. Strong performances from both actresses, well directed by Von Trotta, make this film unusual in the realm of cinematic claustrophobic character studies. Another must-see for Von Trotta fans.

Il lungo silenzio (1993)

Von Trotta's take on the suffering the Mafia has long afflicted on women

[8/10 · 24 March 2006]

The German director Margarethe Von Trotta dedicates most of her work to the female universe, and explores women's emotional sides with intensity, but delicately. In this 1993 film, she deals with an Italian woman, Carla, who stands up to the Italian Mafia, more particularly the fear and corruption the Mafia unleashes at the Italian judicial system. Her husband is a high judge, and the couple live in constant fear for their lives.

After realizing that she cannot rely on the system she always believed in, she starts to investigate on her own, and defies the rules of a partial and corrupt system. With her example, she influences other women, victims like herself, to break the long silence (the film's title, in English) which covers up crimes, vendettas, and assassinations.

Carla Gravina's performance in the main role is just right. Von Strotta's direction is solid, and the film features an appropriate sound track by Ennio Morricone. A must-see for Von Trotta fans.

Le dernier seigneur des Balkans (2005– )

Outstanding and entertaining history lesson

[10/10 · 24 March 2006]

This four part miniseries is as outstanding as cinema, as it is and entertaining and important history lesson. It is very timely too, as the situation is the Balkans still remains one of the world's hot-spots for another war.

The French series (though it includes Greek and Spanish actors, among others) is dubbed into French. At least as it is playing worldwide during the month of March 2006, most recently, on the world French Language Network, TV5. The series is an adaptation of a novel, very cleverly set in a lake region, in the former European part of the Turkish Ottoman Empire. The region is, by the middle of the Episode 2, divided into 3 parts, as it still is today, though these parts have gone back and forth between countries in the last 100 years.

So by choosing this Balkan location, the recent history of Albania, Macedonia/Yugoslavia, Greece (the 3 Balkan countries of this series) plus Turkey, and to some degree Bulgaria, can be told in the classic soap "opera-ish" epic. The characters are for the most part fictitious, but all represent the peoples inhabiting the Balkans: the Muslim Turks, the Christian Macedonians/Yugoslavs, the Yugoslav Muslims, the Greek Jews, the pro-Russian Bulgarians, and Albanians of all types.

It is easy to see in these characters that there is NO clear-cut ethnicity, as there was no real border for hundreds of years. What defined people somewhat were their social class, and their languages, but language is not addressed in the series, spoken and dubbed in French, but assuming the region is bi-lingual: Slavic Macedonian (similar to Serbian) and Greek, with Turkish influences on both languages.

It is also interesting to note in the series, that none of the different characters were religious. A Muslim would marry a Jew, a Jew a Christian, a Christian a Muslim, and so on, without any fuss. The series shows that the real determining factors of an "ethnic group" was neither language nor religion, but rather each character's political orientation. That attached them to the 3 countries formed from this lake region with multiple borders within miles of each other.

Thus, hard line communists ended up fighting for Albania, Tito-following partisans for Yugoslavia (Macedonia and Serbia), capitalists (including some communists defeated in their civil war) for Greece, and Turks moved to the new Turkey in the 1920s.

All these countries went on to live in relative peace with each other by the end of this miniseries (1949/50). And that peace continued for another 40 something years, until the death of Tito and the fall of Communism brought back "Balkanization" and tribal warfare.

A valuable and excellent history lesson in an a most entertaining format. Highly Recommendable!

Tamas (1988– )

Outstanding! Stories that bring humanity to the "Partition" of India

[10/10 · 13 March 2006]

This 1986 miniseries is now being shown as a very long (a few minutes shy of five hours) feature on 35mm film at Indian Film Festivals. It is now making the rounds in South America, and may be viewed with English or Spanish subtitles.

The nonstop five hour marathon is well worth the discomfort and inconvenience of sitting so long. The stories of the suffering refugees as a result of the 1947 Partition humanize this great human tragedy. The film is adapted from a book by a Punjabi who opted for India, and was displaced from West Punjab (now in Pakistan) to the east (today's India). It is therefore told from an "Indian" perspective, in spite of all the concessions made to the "Muslim" (Pakistani) side in the first half of the film.

The inviability of one soul Indian state with a Hindu majority is persuasively defended. However, the migration of Sikhs and other non-Muslim characters make it clear that India alone was to become a true plural society. The film, like the book, only addresses the division of the Punjab. But the Punjabi partition was, along with the Bengali partition, the most tumultuous.

This film features an early major performance by Om Puri, one of the sub continent's greatest actors of the last 30 years. His character and his wife make up the Punjabi Hindu family most featured in the film. The other major family highlighted is an elderly Sikh couple.

There are bad, but mostly good Pakistani Muslim characters who interact with the Hindus and Sikhs. The film (and book) go to great lengths to balance the suffering, guilt, and barbarity amongst all the religious groups. But, it has a definite pro-Indian slant.

This is probably not a bad thing, but rather a reality. Sixty years of history now have proved India to be, and to continue striving to be, the plural society it envisioned. Pakistan, on the other hand, has been unstable since its inception, having lost East Pakistan (now pro-India Bangladesh). No end is in sight for its eternal problems: political instability, religious intolerance and fanaticism, corruption, and under development.

This epic film is a must for anyone wanting to further understand and explore the sub-continent, and the complicated history and diverse peoples who inhabit it. It is in my opinion THE modern Indian epic, the DEFINITIVE "PARTITION" film. It is not to be missed.

Valentín (II) (2002)

Pan-sexual Valentine

[6/10 · 1 January 2005]

It is no coincidence that this film and its main character are "Valentine." The film's about love - between Valentine and a girl, a girl and a girl, a girl and a boy, a boy and a boy, and a boy (Valentine again) who makes another male, the Director of this theater troupe, fall in love with a man "for the first time." This Valentine is so seemingly irresistible, yet he comes off as anything but on screen.

If this sounds like a typical Spanish sex comedy of the past 15 years or so, you're right. It is indeed, though not one of the better ones, not even average unfortunately. And if the subject matter is not repetitive to you, just wait. In the role of the male Theater Director "turned" gay (by Valentine of course), you'll find a familiar face: Lluís Homar, in a somewhat similar role as his last, and best known one.

I mean, if you're drawn to this film, chances are good that you recently saw Almodovar's BAD EDUCATION, and may recognize the pedophile priest turned married family man turned gay older man. Well, here, Mr. Homar is merely an older ("straight") man turned gay by a youngster - Valentine in this case. Apparently, he's not concerned about being typecast. Or is that Mr. Homar's intention? A coincidence in a year and a half? At his age, and level of recognition attained, that might be a great career move. Roles of this type are certainly in ever greater demand.

I particularly mention this and insist on the matter because I, myself usually attracted by this type of film, found it difficult to concentrate on his character (arguably the second lead after the coveted Valentine himself), and thus on the film itself. Especially on the heels of his similar (though darker and perverse) turn in BAD EDUCATION. I also found it hard to find something original in this comedy, a plot with so many elements of recent sex comedies and dramas - so abundant in Latin HBO, and Latin-American Cinemax, in addition to distribution in theaters.

This film seems like a parody of recent Spanish comedies, but not an enjoyable one. So, even if you like this sort of movie, you may have a tough time getting through this one. It's all been done so much better and so many times before. And so recently, and still coming.

Un día en el paraíso (2003)

Ultra light comedy of lost and found

[7/10 · 17 December 2004]

This Argentine comedy is suitable for very light TV viewing, as I just watched it on Latin HBO (or was it Cinemax)... cable in any case, and now playing. The story revolves around superficial caricature characters pursuing the usual fame and consumer dreams of the globalist world.

What kept me viewing this story about Anybodies, set in Anywhere, Planet Earth was its location in Argentina. That said, it could have been California or France, by the look of the locations and the people. But, Spanish speakers who appreciate the nuances between Argentinian Spanish, and other versions of the language may find this aspect of the film interesting, as is the more European nature of the people and culture.

Those features aside, the film is just an entertaining and formulaic romantic comedy with not a trace of unhappiness. It's unbeatable as light entertainment. Not one moment of negativity. It's all just pure escapism in the sanitized, world of globalization, which does not really exist, but is the "ideal" to many of us.

Garden (2003)

Definitely not the garden of Israeli-Palestinian tension you'd expect

[10/10 · 3 April 2004]

The "Garden" is a very seedy area of Tel Aviv. In the world most of us know, luxury cars would not circulate freely in such a desolate place (this is NOT Hollywood or Sunset Boulevard, or a busy pick up street). Much less probable is the relaxed attitude of upper middle class types opening their doors and letting anyone inside the car and drive off before any negotiation, seemingly unafraid of violence. And that these Israeli "drivers" are picking up drug crazed young Palestinian males in criminal activities with such confidence is eye opening, at the very least.

But I guess that's one more contradiction of Tel Aviv life this documentary tells. Drug addicted, young gay prostitutes and transvestites (Israelis and Palestinians) share the same working space in uncommon harmony; in fact as friend. To bring these points home, and make a few more, the film makers follow two young men who "live and work" in the Garden. Namely, Nino, a 17-year-old Palestinian living illegally in Israel, in and out of jail and reformatories - and Dudu, an Arab-Israeli.

The guys give what we must assume, and seems to be "honest testimony", while their dealings with Israeli authorities, "clients" and even court hearings are shown. Their views on the Palestinian conflict are so superficial and unimportant that it only concerns them as an impediment to stay in Israel proper, where society is more permissive. This allows them to indulge in their "vices and interests," out of the question in the Arab world.

These activities, however, are obviously not sustainable, even while facilitated by many Israelis - some well intentioned, others with greedier intentions. Life in the "Garden" is a one way ticket to death via diverse living hells, and this documentary does a good job of proving that point.

Era outra vez (2000)

The first Spanish "Dogma" Movie

[9/10 · 24 May 2001]

This unusual drama documents the tenth anniversary college graduation reunion of a group of Spanish yuppies. To be more precise, the characters are actually Galicians (from this autonomous region of northern Spain). It is unique in two ways. First, it is the first ever movie from Spain, adhering to the "Dogma" movement rules. Secondly, it is in the Galician language, closer to Portuguese linguistically than Spanish. I saw the version dubbed in Spanish at the recent Hispanic Film Festival here, and found it quite impressive, even in this dubbed (and English-subtitled) version.

But, regardless of the innovations, this film is good AND entertaining on the surface, regardless of its unique features. I only learned of these, as the film opens with a copy of the "Dogma Manifesto" and consequently the opening credits highlight the support from "Galician TV" and from the government of "the autonomous region of Galicia."

It's a fascinating look at the life of Spanish yuppies in the lush mountain area of Northern Spain. The characters are quite diverse, and well developed through the film, which takes place over the course of one summer weekend. Definitely, a worthwhile film.

Las profecías de Amanda (1999)

Entertaining film featuring usually unmentionable Cuban popular beliefs

[9/10 · 29 November 2000]

This film is unusual in that it is Cuban, and deals totally with religious beliefs, in this case, "espiritismo," a blend of fortune-telling mixed with Catholic and Afro-Cuban religions. The film features a stellar performance by veteran actress Daisy Granados (MEMORIES OF UNDERDEVELOPMENT, PORTRAIT OF TERESA, CECILIA) as the older adult AMANDA. She recently won the 2000 Best Actress Prize at Latin America's prestigious Gramado Film Festival in Brazil for her performance in this film. The director presents AMANDA'S PROPHECIES in a series of vignettes, which lets us in on Amanda's powers and her grueling life from early childhood to her late adult years. It is a fascinating view at important, ubiquitous customs in Cuban culture, which had previously been avoided by the government-funded and supervised ICAIC, the producer of this and all Cuban films since 1961. Since this movie, like all recent Cuban features, are co-productions with European and other entities, it will probably be playing near you soon. It's a worthwhile experience.

Among Men (1991)

A decade in Berlin, sweeping change not only for gays & Berlin, but for sexuality & politics worldwide

[7/10 · 29 November 2000]

This film, a collection of shorts from the known Berlin Director Wieland Speck, is best appreciated, as I saw it, in a festival setting. And in the best of scenarios, as part of a retrospective of Speck's work, as MIX BRASIL is now doing in November/December throughout Brazilian capitals.........The film has all the trademark Speck traits: his emphasis on Berlin architecture, Berlin-specific scenarios, and unique views of the very varied gay scene there........Now seen in hindsight, the film is especially, and doubly interesting. We see the relatively cushy, isolated life of West Berlin in the early 80s through the fall of the Wall, and to German Reunification in 1991. At the same time, we see the gay scene going from the over-the-top everything goes pre-AIDS days to the appearance of the disease, its consequences, and the fight against it which began in earnest as this film ends, in 1991. An historic collage of gay shorts.

Bolero (1981)

One of the greatest WW II epic masterpieces EVER!

[10/10 · 11 July 2000]

Well, I'm obviously not alone in saying this is the best, the greatest, the finest movie, etc. So what's with the rating? Again, as in many cases of movies with few votes, a small group skews the score to a ridiculous level. I saw this masterpiece in Paris when it came out in the early 1980's, and went back to see it the nest day. It was too much exquisite detail to take in during one sole session. The development of the characters, interwoven into the fabric of tragedy that was the war, the haunting Bolero by Ravel. Devastingly beautiful touching, and grand. Since this film, Lelouche (A MAN AND A WOMAN, LES MISERABLES (1994) has made a few films touching on his autobiographical experiences as a young Jew, during the Holocaust. This movie was made before there were dozens of them to compare to, like Lelouche's own perhaps just as good LES MIS... with Jean-Paul Belmondo. Having lived in France, I know there are many cinephiles who just outright hate Lelouche. These feelings, as I have experienced them, are thinly-veiled anti-semitic feelings. Say, it may be an "artsy" way of saying I'm an anti-semite: J'aime pas Lelouche. I think this is why this movie is undeservedly ranked so low in this base. I came across, and voted on it a while back, precisely because the rating shocked me so. As I went through the comments though today, I was happy to see I was not alone, and thought I would throw my "ten francs worth" in. I want to buy it for my collection.

Cabaret (1972)

The best musical & one of the best films ever made

[10/10 · 11 July 2000]

This landmark masterpiece defies strict classification. It is one of a few movies which defines cinema. It's undefinable as a genre because it works as a musical, as drama, as a comedy, as a war movie, as a social satire, as a historical epic, as a masterpiece of cinematic choreography, AND THE LIST GOES ON. Interestingly, it is over powering not only as a film, but as an original Broadway musical, a novel, a play, and most recently as a revamped musical which incorporates the new songs and choreography created especially for the film into the original show. And the Tony and other awards from other media keep pouring in. The new DVD version is a must. This is the movie that in a very tight Oscar race year (like 1939 with Gone with the Wind, etc.), won NINE Academy Awards. And that against the Godfather! (Part I, just for starters.) The late Bob Fosse did score a major coup by winning the Best Director Award over the favored legendary Director of the Godfather. Fosse's delegacy lives on...on film, and on stage right now in London, Berlin, and New York where the CABARET revival, did I mention CHICAGO?, and FOSSE, the musical- based on his life- including a piece from the movie of Cabaret continue to dazzle new generations. The DVD is a knock out too. Truly one of the best, a cliche often said. THIS CLAIM, however, IS A FACT.

Cinq minutes de détente (1999)

more like 5 minutes of substance

[6/10 · 11 June 2000]

I really hate to criticize a French-Quebec co-production, and additionally one starring Richard Bohringer, in a "signature role." But I'm surprised that this film, which I saw at the Paris Film Festival in April 1999, was finally released. It was supposed to open wide just after the festival, but didn't for several months, and it was never released widely. (I wonder why?.) One of the worse police comedies I have ever seen, this slow-paced, out of place film is absolutely implausible and is downright boring. All the (very routine) action takes place in provincial Quebec, but everyone, including the locals, have Parisian accents. Quebec accents are thrown during a couple of scenes at a backwater police station, but this only serves to highlight that this film takes place in a "French Twilight Zone." Certainly, co-productions always force upon us some actors sporting out of place accents. However, explanations, no matter how far-fetched, are given. Here, they are all out of place. This absurdity is so overwhelming that no explanations are given while developing (if that can be said) the characters. Who financed this folly? It is obviously as commercial a French film as they come. This folly is not the work of an eccentric "author." The producers must have suffered from temporary insanity, or were on vacation when this project was approved.

Comme un poisson hors de l'eau (1999)

Eye-candy gangster film

[8/10 · 11 June 2000]

This is a pretty standard French gangster film. However, it is much prettier to look at than most films of this genre. Not only are the locales in Paris, and the French Riviera ideally captured, providing one of the best features of this film, but the gorgeous Monica Bellucci is similarly exposed. If you are a fan of Monica's, the great French villain Tcheky Karyo, and/or France's most beautiful panoramas, this film is definitely for you.

Extraños (1999)

Are we all really strangers to one another?

[8/10 · 1 May 2000]

Throughout this film, the question is raised: "Do we really know who our closest beings- spouses, friends, business partners, our parents, even ourselves really are?" This may be a very pretentious, way too abstract rhetorical question to address in one film alone. Nonetheless, that is what STRANGERS intends to do. It does so by continuously revealing secrets about its cast of characters. The focus is particularly on the person of a lone private investigator obsessed with a recurring dream. This P.I. is hired by a suspicious husband after his wife's behavior changes radically after her mother's alleged suicide. The investigation takes on the character of a cat and mouse game between the wife and the investigator, though involving most characters who are busy playing similar games amongst themselves. Through the course of this investigation/game, the private investigator tries to figure out his recurring nightmare by involving those involved in his investigation. All this intrigue serves to reinforce the original premise about all people being strangers. If you watch the film, please tell me what else we learn from sitting through this philosophical drama from Spain. I didn't learn anything new about the human race's unpredictable nature. The film is entertaining, well acted and pretty to look at it. But, where's the beef?

El pianista (1998)

A Catalan masterpiece

[10/10 · 30 April 2000]

No matter how you look at it, this film has masterpiece written all over it. From the brilliant screenplay of this previously deemed unadaptable novel to the art direction to the superb performances, THE PIANIST is a gem. A very Catalan story about two Barcelona classical pianists who fall in love with the same woman in the midst of the bloody Spanish Civil war, the film is a model of the perfect screen adaptation of an epic novel spanning nearly five decades. The art direction, strong acting, character development, meticulous attention to details including the memorable score, and the use of the regional Catalan language, instead of the more mainstream (but potentially less realistic) use of Castillian Spanish are but a few of the touches that makes THE PIANIST a triumph in movie making nobody should miss.

Como un relámpago (1996)

Unusual search-for-real father drama

[8/10 · 18 April 2000]

This film, literally named "like a flash of lightning," is an unusual film of a teen looking for his real father. The flash of lightening title alludes to the central point in one of the father's main dialogues, where he describes how events and decisions in life often occur. A 17 year old (Eloy Azorin of ALL ABOUT MY MOTHER in his screen debut) from an affluent background (courtesy of single-mom/successful lawyer, played by Assumpta Serna), leaves his comfortable Madrid digs in search for his father. The parent the boy never met now lives in the Canary Islands. This variety of locations provides great opportunities for breathtaking cinematography, and a secondary agenda of contrasting life in Madrid with that in a laid back, stuck-in-a time warp provincial island port city. The father, as portrayed by Spain's outstanding character actor, Santiago Ramos, is pretty much all that the mother is not. The child is fascinated by this new world he discovers as much as he is with his first meeting with his father. The encounter and ensuing relationship between the two is expertly developed by the award-winning director. Though the story line is anything but new, the film's presentation of the situation, the excellent acting, beautiful locales, and illustrative, picturesque views on island life add up to an edgy drama with a difference.

Partisans of Vilna (1986)

Not your average Holocaust documentary

[8/10 · 18 April 2000]

Long before Steven Spielberg's Shoah Foundation started its series of excellent documentaries, and preceding other recent and memorable documentaries on the subject, PARTISANS OF VILLA was produced. Having been put together 15 years ago,with a good number of the survivors of the pre-World War II Lithuanian Jewish community still in good mental state, this documentary is not only more convincingly authentic through its varied interviews, it also explores unusual themes. Chief among the latter is making the point that Jews DID fight back. They created and joined "Partisan" commandos fighting the Nazis, in the forests of Lithuania and Poland. Their multi-faceted participation in these efforts is very well documented in this exceptional film. This is achieved both by visuals (actual footage, detailed maps), and excellent in-depth interviews from survivors. I certainly hope this gem won't be forgotten with the recent plethora of Holocaust documentaries. This one is a classic.

Queer as Folk: Out of the Closet, Into the Fire (2000) Season 2, Episode 1

Set is staged for the younger generation to rule

[9/10 · 16 April 2000]

The excellent sequel, just premiered in its entirety stateside at the Miami Gay and Lesbian Film Festival, is not only a worthy sequel to this landmark series, but the final step in making the generational change in the serie's lead character. At the same time, the series' central doubt: the seemingly inevitable sexual relationship between the two central leads remain as aloof as always. The sequel addresses other important issues not addressed in earlier episodes, and is more grounded in the realities of modern life than the earlier episodes. The supporting cast also gets more time to develop their characters, and enrich the story, with some darker sides revealed. The masterful ending could indeed be the final installment, but leaves ample room for a third mini series in the future. All in all, the best of the series, and the only one which can stand alone as a feature of its own.

Lucas me quería a mí (1996)

A Morbid, Campy Riot!

[8/10 · 25 March 2000]

This film can best be summed up as a gay Spanish version of the recent American black comedy DROWNING MONA, with hunky Lucas filling in for Mona (as suggested by the title). It's a funny, campy whodunnit featuring an outrageous cast of characters. Look out for Antonia San Juan (now famous as Agrado in ALL ABOUT MY MOTHER) in a small role, as an eccentric woman looking for a flat. The situations that arise, though mostly cliches, are nonetheless funny.

Los peores años de nuestra vida (1994)

Funny sibling-rivalry sitcom

[8/10 · 24 March 2000]

This is a quite comical movie about two brothers after the same girl. The situation is made funnier by its location at a family-owned furniture store in Spain (plenty of couches and beds around), and its outstanding cast. The siblings are played by Gabino Diego and Jorge Sanz, who have since this movie cemented their places as two of Spain's leading men. They are perfectly cast: Sanz, as always, the handsome, desirable stud, and Diego as his usual goofy, quirky self. Let's not forget the beautiful and talented Ariadne Gil (BELLE EPOQUE, SEGUNDA PIEL), who is the object of their affection.

Why Do They Call It Love When They Mean Sex? (1993)

Fine Spanish 90s Comedy

[8/10 · 24 March 2000]

This Jorge Sanz starrer is one of the most popular of the myriad of comedies Spain produced in the 1990s. It is also quite good, and very much worth watching, especially for Sanz and Veronica Forque (KIKA), two of the country's best actors.

Soul's Square (1997)

The lives of contemporary street artists in Buenos Aires

[8/10 · 8 March 2000]

I saw PLAZA DE ALMAS at the 1999 Hispanic Film Festival, and found it enjoyable and enlightening. It features the lives of street artists in the Buenos Aires of the late 90's, who gather in a particular square, hence the title. I'd certainly recommend it to anyone interested in current Argentine cinema, and in seeing Buenos Aires life from a different angle.

Second Skin (1999)

A Spanish "gayploitation" movie

[9/10 · 7 March 2000]

This film has caused a lot of controversy in its native Spain. It is establishing a trend in Spanish films exploiting gay themes by casting some of the country's most popular male stars as lovers to lure viewers, therefore appealing to voyeurism. This "gayploitation" has been going on for over a decade in Spanish cinema. In fact, it's hard to name an established Spanish actor who hasn't appeared in at least one gay role. However, in most cases, these roles or their sexuality have been secondary. In SEGUNDA PIEL, however, it's full steam ahead as the film centers around these two stars' relationship, and features very graphic sex scenes between the two stars. Whether this film is voyeuristic or not is certainly up to the viewer to decide.

Pagliacci (1982 TV Movie)

Another Zeffirelli operatic masterpiece

[9/10 · 7 March 2000]

The king of opera staging, Franco Zeffirelli, never disappoints. Not when it comes to bringing opera to the screen, in any case. Here, as in LA TRAVIATA, the fantastic pairing of Placido Domingo and the sublime Teresa Stratas is once again triumphant. I PAGLIACCI is a short, one act opera, usually paired with CAVALLERIA RUSTICANA. If viewing I PAGLIACCI alone leaves you hungry for more. Ms. Stratas is perhaps as gifted an actress as she is as a soprano. This is one of the few opportunities to see and hear this now retired soprano, one of the greatest of our time.