Confused, non-linear film tells the sexual story of a film director from his life at age 5, age 12, age 16, a man embarking on his first film in 1950's Tunisia, and finally to his current ... See full summary »
Late 19th century. The young miss Julie lives in a mansion with her father. She has recently broken her engagement but is attracted to one of the servants, Jean. They spend the midsummer ... See full summary »
Miss Julie has power over Jean because she's an aristocrat but he has power over her because he's a man. On Midsummer Eve this power battle turns to love which is consummated. But as each ... See full summary »
Sara De Mezzo
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Spike and his sister Anjela live in the Terrordome, a huge ghetto that all the blacks have been forced to live in. Jodie, Spike's pregnant white girlfriend, ran away from an abusive white ... See full summary »
Los-Angeles commercials director Max visits his friend, artist Charlie, who was diagnosed with AIDS in New York. There he meets Karen, they are attracted to each other and after they meet ... See full summary »
Midsummer night, 1894, in northern Sweden. The complex strictures of class bind a man and a woman. Miss Julie, the inexperienced but imperious daughter of the manor, deigns to dance at the servant's party. She's also drawn to Jean, a footman who has traveled, speaks well, and doesn't kowtow. He is engaged to Christine, a servant, and while she sleeps, Jean and Miss Julie talk through the night in the kitchen. For part of the night it's a power struggle, for part it's the bearing of souls, and by dawn, they want to break the chains of class and leave Sweden together. When Christine wakes and goes off to church, Jean and Miss Julie have their own decisions to make. Written by
Mike Figgis originally planned to make this with Nicolas Cage and Juliette Binoche. However, when he made _Leaving Las Vegas_ with Cage, the actor's salary was a manageable $200,000. Following his Oscar win, Cage's price shot up to $20 million. See more »
It's movies like this that restore one's faith in the movie business. Sure, this movie is based on a play and some may find it stagey or theatrical, but it is, nonetheless, as powerful a movie experience as this particular reviewer has ever had.
Saffron Burrows brings quite a bit to the table here: the depth of her concentration and commitment to the role of Miss Julie is transcendent and breathtaking. She captures one's attention so completely that there is no hope for release until the performance's end. Her beauty and skill as an actress are unsurpassed in modern times and it baffles me to no end that she is not more widely recognized and celebrated. Peter Mullar in the role of Jean is superb and deserves more recognition.
Figgis' Miss Julie is a more faithful telling of Strindberg's play than the more 'cinematic' Sjoberg version of 1950. Where Figgis employs economy, Sjoberg lengthened with unnecessary flashbacks, dampening much of the power of the original play. Months after watching Miss Julie I find myself still mesmerized and enraptured by its web.
Congratulations to Mike Figgis and all persons involved in the project. It is only unfortunate that more people will not see Miss Julie. It deserves and is worthy of your attention.
Note to Saffron: you are brilliant and inspire me to take my work to a higher level.
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