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6 out of 6 people found the following review useful:
This is a GREAT FILM, 27 January 2007

The Scoundrel is a fantastic film which takes the viewer on an emotional and linguistic journey that reminds one of the power of the film medium. Everything from costumes to sets and lighting changes for the darker in a brilliant way. The whole film shifts in tone radically and boldly. The character MALLARE, whom Noel Coward plays, expresses the psychology of the dark side of humanity in times of love. He articulates what few rarely say, and this makes the dialog exceptional. The perception of human nature. Hecht wrote the pseudo-decadent Huysmans homage FANTAZIUS MALLARE some years before, hence the character's name, I'd imagine. The movie dialog is rich, baroque and sardonic as well. The poet's works were clearly inspired by maxwell Bodenheim's poetry and persona and are hilarious. A real treat.

5 out of 10 people found the following review useful:
Absolute triumph for director Bartalos, 14 May 2005

I am so psyched. I just watched this flick. This film is an absolute triumph for director Bartalos. It really manages to deliver the goods and is supremely entertaining. And the film is actually very heart-felt and seriously dark, as well. It has "Lynchian" moments, but only in the best way, which the director makes his own. Other influences show - the Mad Max films, Lynch, Jodorowsky, "Chainsaw" - and yet - there is something fresh here. A predeliction for old-codger types results in much hilarity. I found the casting to be inspired throughout. Warwick Davis is pure, unbridled , manic genius in the role of "Plates." The low key take of "Brain" was a wise choice. While the film is gleefully "over the top,' many of the director's choices are not.They are intelligent, skillful and surprisingly artistic. This film will age like a fine wine, I think, though I am already drunk on it.

I found the dubbing, mixed film stocks (the result of years of shooting no doubt) all to the film's advantage. It felt like a renegade mix of all kinds of good stuff, plus surreal-set pieces which only Gabe Bartalos could have envisioned. A scene involving children's wooden spelling blocks comes indelibly to mind. I thought the film was well shot, original, sick, funny, unrepentant and transgressive. This is what "House of 1000 Corpses" wanted to be. Three cheers for Bartalos. May he make more such unforgettable films ever after. Amen!