The venerated filmmaker Eisenstein is comparable in talent, insight and wisdom, with the likes of Shakespeare or Beethoven; there are few - if any - directors who can be elevated to such ... See full summary »
After his wife dies, fifty-five-year-old businessman Philip Emmenthal (Sir John Standing), at the prompting of his playboy son Storey (Matthew Delamere), populates his Geneva villa with eight and a half concubines. Three are from Kyoto, Japan, where Storey manages Pachinco palaces. Each has a distinctive personality: a nun, a child bearer, a gambler, a student of Kabuki, a horsewoman with a pet pig, and a maid. Philip throws off his strait-laced and repressed attitudes, immersing himself in pleasure. After about a year, the women begin to assert their own power. Side adventures pre-figure the household's break-up, and the women depart in one way or another, one at at time. Philip's fate is in the hands of Palmira (Polly Walker), his favorite.Written by
[All trivia items for this title are spoilers.]
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I'm thinking of making a film... about all this: our experiences.
Why make a film when you can live it? Most films are about people longing for something that they haven't got, and what they haven't got is sex and happiness... and we've got both. Or at least... I have.
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It seems that when Peter Greenaway lets his hair down, he automatically reverts back to adolescence. 8 1/2 WOMEN is visually striking and the dialogue has a rhythm and cadence to it that's a joy to listen. But the whole thing is simply infantile. I'm aware that the movie is not meant to be taken seriously and that the characters in the story are immature spoiled brats but that doesn't mean the movie itself has to feel like it was done by an immature, spoiled artist. The end product feels more like someone who's got too much time on his hands and creates movies from whatever pops in his head than something that comes from the heart or mind. Few of the characters are interesting, as people or as subjects for a movie. The dialogue was funny and caustic but the constant need to blurt out certain "shocking" words was really silly, and got only sillier by the end of the film. Only the brilliant visual and aural feast that usually typifies a Greenaway film made this worth watching.
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