Tired of her husband's philanderous ways, the mother of two daughters drowns her husband. With the reluctant help of the local coroner, the murder is obscured. Her daughters are having ... See full summary »
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An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The... See full summary »
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
The wife of a barbaric crime boss engages in a secretive romance with a gentle bookseller between meals at her husband's restaurant. Food, colour coding, sex, murder, torture and cannibalism are the exotic fare in this beautifully filmed but brutally uncompromising modern fable which has been interpreted as an allegory for Thatcherism. Written by
Keith Loh <firstname.lastname@example.org>
The car that Albert Spica drives is listed in the credits as a Valentine Lindsay AT V12. It is in fact a modified early-'70s Dodge Dart Swinger. Valentine Lindsay is the name of a British car enthusiast and racer who works with the V12 Team of Harrier Racing, and most likely loaned the car to the production. See more »
Now I've given you a good dinner, you can have a nice drink.
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Closing credits epilogue: "And a special thanks to those very many people who patiently & repeatedly performed as patients & nurses in the hospital ward, and as diners in the Hollandais Restaurant." See more »
Writer/Director Peter Greenaway teams up again with cinematographer Sacha Vierny and composer Michael Nyman, delivering a banquet of sound and colour, light and dark. And dark and dark. A simple if disturbing morality tale sits atop a canvas of grotesque characters, carefully-composed frames and revolting details. The restaurant setting forces analogues with a meal, and it's easy to oblige - a rather formal affair, bordering on pretentious, with its influences conspicuous - sumptuous, exotic, intoxicating, memorable, if perhaps too rich and over-long, and it plays havoc with the digestion.
As acquired a taste as any of Greenaway's work, and by no means an unqualified triumph. This film does not deliver on all its promises. But at least they were big promises. Try a piece - if you don't like it, you can always go back to your burgers and fries.
Nine out of ten.
1. Michael Gambon's "Albert Spica" (the Thief of the title) surely ranks as one of cinema's all-time nastiest villains. Sorry Darth - no cigar.
2. The title of this film has become a template for headlines in British newspapers, e.g. "The A, the B, his C and her D". Don't ask me why.
3. "Cook/Thief" is one of four similar and inter-related films that Greenaway made during the 1980s, the others being "The Belly of an Architect", "A Zed and Two Noughts" and "Drowning by Numbers". While "Cook/Thief" stole all the headlines with its snazzy visuals and outrageous grotesquery - not to mention various collisions with the censors - For me, "Drowning" is the best of the bunch. And somewhat easier on the eye (and stomach).
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