The film is set in Northern Ireland shortly after 1994 cease-fire. Hazel is a Protestant and Malachy a Catholic. Romance between them is threatened by Rohan (leader in militant underground ... See full summary »
Jack Hammett is an aggressive young defence attorney on the rise up the corporate ladder. In the courtroom he's known as the "Hail Mary Kid" for his ability to win the unwinnable cases. ... See full summary »
Out of prison at last, charismatic sociopath Neal tries to visit the baby son he's never seen, his indifferent parents, and the grave of his horse - not in that order. But mainly he wants ... See full summary »
Esteban, a mysterious figure involved in a drug deal of some kind, arrives in a quiet desert town. He signs in at the local hotel using the name 'Gene Gere', which happens to be the name of... See full summary »
The story of Eddie, a small town ex con, who discovers he has talent for selling anything and everything. Eddie sees a way to rise above the low life by setting up on his own; what he ... See full summary »
Vusi Madlazi returns to the South African village he left as a young boy (he was organizing against apartheid, and left in fear of his life) to bury his father. He meets up with his brother... See full summary »
South African church minister Steven Kumalo is summoned from his village to Johannesburg. There he finds that his son Absolom has been jailed in connection with a robbery in which a white man was killed. The father of the white man, James Jarvis, is a supporter of apartheid, the separation of the races which is the law of South Africa. When they encounter each other, both Kumalo and Jarvis come to unexpected realizations not only about their sons, but about the nature of their own humanity. Written by
Jim Beaver <firstname.lastname@example.org>
The background instrumental music in the movie is the same as the theme song from the movie Zulu (1964). See more »
Sir... to my knowledge, your son never said... he believed in something, unless he believed it.
I would like nothing better... than to understand my boy.
He's the only man I've ever met, black or white, who saw me for what I am. What I really am.
See more »
Beautifully filmed, two great actors (Jones and Harris)
I know most readers won't find my comments useful, but here goes anyway. I saw this movie a long long time ago but recently went looking for it on IMDb (not sure why), probably to look up snippets about Richard Harris. What I remember most about the movie was 1) the incredible cinematography - no denying that African countryside is gorgeous, and 2) the one long extended scene between James Earl Jones and Richard Harris. I don't even remember most of the dialogue, only that these two great classically-trained actors almost literally chewed the scenery. I remember that the scene was calmly played, yet both actors simmered with just-perceptible passion.
I once performed in the Kurt Weill opera of the same name. I'm accustomed to having music propel me through the story, but I didn't miss it in this movie. One casting note - probably because of recent trends in NTC (non-traditional casting), most stage shows refer to the racial divide in the opera as "whites" and "coloreds," which, under apartheid, included all non-whites. Whether or not this was intentionally done by the librettist, it gives opera companies the freedom to hire Asian-Americans, African-Americans, and Hispanic-Americans (or Europeans) as the "colored" cast. In the movie, it was starkly white and black. Nevertheless, if you lack any other reason for seeing the movie, see it for the wonderful performances of Jones and Harris.
1 of 1 people found this review helpful.
Was this review helpful to you?