MGMboy

A rapture of visual, audio and cinematic emotional brilliance all tied with a killer last line. What a wonder is set before the viewer when one enters the world of "Cheri". The visual richness of this parfait of the Belle Epoch is breathtaking from the rich creamy art neuveau architecture to the gloriously realized costumes of the early 20th century. What they only indicated in "Titanic" of the same period costumes. Explodes in luxury and in a sense informs the eye to the scene at hand and seems less costume than authentic clothing. As Cinema "Cheri" succeeds as more than an adaptation of a Collette novel but becomes a world unto it's own. Here we are presented with some of our finest female performers at the top of their game. In short I am speaking of Michelle Pfeiffer and Kathy Bates. As former courtesan rivals who are now aging friends they come together to define the last part of their lives and the beginning of Bates' son's life in a remarkable way. Kathy Bates goes deep into the complexities of her mix of comedy and nuanced drama in the same way she did with Annie Wilkes. Not to say that the characters of Annie and Madame Peloux are anything alike. But Miss Bates takes this role to a superior level while all the while not letting you see her do her magic. She is just THERE! The scene where her face decays from a radioactively sunny laugh to reveal her true deepest disgust her spoiled soul is priceless. Then there is Michelle Pfeiffer as Lea de Lonval, at fifty one she may be older that the literary Lea but she has never been more luminous or nearly goddess like. To look at her is to look upon a woman of a certain age that is ageless in her embrace of times changing hands upon her face. But there is more. This may be the pinnacle of her career, the role of her lifetime. She is Lea in so many levels both within her acting and in a sense as an actress. She is stunning and brings forth the soul of a great character as only our finest actors can. But all of this would seem a delightful trifle, a light story of an aging courtesan and her young lover if it were not for the narration that gives the film added depth and gravitas. I asked a friend today what he thought of the final outcome of the story. Of what the narrator reveals of what became of Cheri. He tossed it off lightly and said that it seemed an after thought. He could not have been more wrong. He missed the whole point of the film. The last lines of the film that tell us of the ultimate fate of Lea and Cheri are what give this film an emotional strength, irony, and ultimately heart wrenching tragedy. It is the final twist set into a stunning jewel of a film that is as captivating and spellbinding as Lea's mysterious emerald ring.

There she stands against a wide horizon shielding her eyes against a glaring sun, a woman out of her element in a strange and savage new land. There behind her stands the big house of a western ranch, or tea or rubber plantation. A stoic strong man challenges her and their mutual attraction grows against a sweeping Technicolor canvas as the stereophonic lush romantic score swells to overwhelm our senses and pluck the quivering strings of our hearts. Sounds good doesn't it? This is the stuff of the silver age of Hollywood; the 1950's epics abound in these kinds of films. And now it is back in a BIG way.

Yes, we have seen this before, and unfortunately done with more conviction and brilliance. And when it is done right it is pure movie magic. For instance the incomparable George Steven's "Giant", or the lesser "Elephant Walk", or even the soapy yet very exciting "Naked Jungle" these are the fathers of inspiration for Baz Lurhman's "Australia".

This film is an ambitious effort that falls on its face under the weight of its director's choices to go way over the top too many times. Now don't get me wrong. I love over the top in my sweeping epics but in good and timely measures. Not from start to finish. It is just too much and becomes self-conscious and takes one out of the film experience.

The most indulgent of these choices is the casting of Nicole Kidman in the lead. She is too old and her face has changed by some sort of strange process over the last few years as to become hard and well, a little scary. But that aside her performance is not an honest one, she plays the comedy at the beginning of the film straight for laughs and that rings false. Comedy in this kind of film and with this kind of character should be played dead serious to make it work. You just don't believe her and her acting is showing all over the place.

But there were some good things about the film. The boy who the story is really about is just a natural wonder, a pure old acting soul in a child that the camera loves. Hugh Jackman delivers all that is required in the male lead and in the process is natural and believable in the "Rock Hudson - Charlton Heston" mode. The images of Australia are indeed stunning to behold and the cinematography is at times thrilling. But then she pops up in the shot with those puff lips and gives you a start.

There are those things to recommend "Australia" and on a purely visual level you might give it a try. Perhaps if you go in not excepting to love it, the film might work better for you than it did for me. On the other hand, I recommend seeing "Giant" instead to see how this genre of film can sing, zing and fly on the wings of élan.

Condensed classic of epic proportions and sensual sensory splendors! This Italian T.V. mini series is studded with an international cast of brilliant players and enough extras to fill the Cinecitta Rome set five times over. One of the fascinating things about this marvelously accessible version of the story is that it is in English. Don't let the Russian Box fool you. An extra added bonus it that the film was shot in Russia so you get the added pleasure of seeing some incredible architecture of the period and the stunning Russian countryside (And a little of Lithuania.) There is in the huge cast some real stand out performances. Brenda Blethyn is wonderful as always, and as Prince Andre's father Malcolm McDowell is chilling and arresting in his approach to the part.

In the lead female role we have the lovely Cemence Posey, who is near perfect in a role so associated in the West with Audrey Hepburn. There have been complaints that she is a blond in a traditionally dark haired part, but that seems trivial to me in comparison to her performance. In the romantic lead of Prince Andre is the wonderful Italian star, Alessio Boni. He brings to the role a deliciously tragic gravitas that is so important to the story. He is a brilliant actor who needs more exposure on this side of the world. Just check out his work in 'The Best Of Youth' and 'Don't Tell'.

Also the incredibly beautiful Violante Placido plays the wicked Helene with relish and great style. Not since Polly Walker in 'Rome' has there been such a delicious wicked woman on the screen. She was a delight to watch and I found myself missing her when she was not on screen.

Benjamin Sadler, who was so brilliant in Augustus is on had to lend his considerable slithery charm and great presence to the role of Dolokov. Why is this actor not a huge star yet? Yes there are many other worthy performances to see and savor in this lush and enthralling film, too many to go any further with here. Rather, take the chance and get this film and let the magic of Tolstoy's timeless story take you into a world that is gone with the wind.

Yes it is not as huge and epic as the 1968 Russian classic but it is none the less even at times more wonderful! The disk is splendid with clear beautiful image and great sound. As I said the film is in Enlish with an international cast. It is obvious they are all speaking in English and if any are dubbed that is Not obvious. Very well done in the sound department. And the score by Jan A.P. Kaczmarek is lush and soaring. Most particularly stunning at the end of act two as Natasha descends the grand staircase with the viper Anitole Kuragin,Ken Dunken on her heals.