Madame Ranevskaya (Rampling) is a spoiled aging aristocratic lady, who returns from a trip to Paris to face the loss of her magnificent Cherry Orchard estate after a default on the mortgage... See full summary »
Anna and Ben are settled in rural Chile in the early 1970's. They are very isolated and their only real friends are two Chilean sisters, Eva and Monica. When Ben is stranded in Santiago on ... See full summary »
Based on a true story, this film tells the tale of the 1950 US soccer team who, against all odds, beat England 1 - 0 in the city of Belo Horizonte, Brazil. Although no US team has ever won a World Cup title, this story is about the family traditions and passions which shaped the lives of the players who made up this team of underdogs.
Queen Victoria is deeply depressed after the death of her husband, disappearing from public. Her servant Brown, who adores her, through caress and admiration brings her back to life, but ... See full summary »
Cordelia Gray is the reluctant owner of a ramshackle investigation agency following the suicide of her boss. Watching over her as she hunts down clues in the murky and sinister world of ... See full summary »
A cautionary tale. A plane carrying a weapon more dangerous than a nuclear weapon goes down near Greece. To prevent panic, the officials go in dressed as tourists (who are dressed so ... See full summary »
Peter is a novelist who is going out of his mind because his wife and daughter have left him. He's bought a Smith & Wesson and put one bullet in it. He's pulled the trigger once in ... See full summary »
Madame Ranevskaya (Rampling) is a spoiled aging aristocratic lady, who returns from a trip to Paris to face the loss of her magnificent Cherry Orchard estate after a default on the mortgage. In denial, she continues living in the past, deluding herself and her family, while the beautiful cherry trees are being axed down by the re-possessor Lopakhin (Teale), her former serf, who has his own agenda. Written by
Cacoyannis began his career filming Greek tragedies five decades ago. Anyone seeing his production of Chekhov's wonderful play knows he adores this work: the discerning casting, the use of Tchaikovsky's little-known piano pieces. Best of all is the look of the production-- its costuming and lighting have the quality of delicate homage. Watch for scenes like the arrival of auction-bidders in a muddy street midway through the film-- a bit of period recreation on a par with Coppola and Scorsese. Chekhov's brilliant bits of stage-business are treasured here: Varya's clobbering her wished-for fiance with a door-slam, Epikhodov's goofs, Yasha's mother-problem, and especially the family's sitting gravely down together before their dispersal. These are lovingly done, and if citing them here is meaningless to those who haven't read the play, I'm afraid the film will mean as little to them, especially on videotape, where the exquisite visuals won't count for much. The acting can't sustain novices-- the cast, especially the males, show the effects of limited rehearsal time, sliding in and out of cohesion. The exceptions to that are Katrin Cartlidge (in a role that often stands-out in stage productions), Ian McNeice, and Michael Gough, delivering the finest performance I have seen from his 50+ years of movie-acting-- acting-teachers should march students to see CHERRY ORCHARD to hear how Gough reads a choice line like, "Now I can die." Cacoyannis nodded in spots: the weird accents affected by the lower-class characters add nothing, and the hammy Act II beggar-- one wants to thrash him. This is not a great film. But the play it serves may be the past century's greatest. At a time when American theaters cannot afford large-cast period plays, a Chekhov-fan feels special gratitude for this production.
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