★ 7 / 10
A clever film, with understandable characters in a very surreal situation
akramer
Frederico Fellini's "8 1/2" is a movie this one is theoretically inspired by. There are consistent references to it in this film, some subtle, and some…
Frederico Fellini's "8 1/2" is a movie this one is theoretically inspired by. There are consistent references to it in this film, some subtle, and some glaringly obvious. One should take this into account so that it will not hamper one's voluntary suspension of disbelief, though this movie definitely stands on its own if the viewer has never seen "8 1/2".Voluntary is, perhaps, an inappropriate word. This movie takes disbelief, which should certainly be present, and suspends it for you, in a most amusing way. The film may well attempt to say something deep about human nature, and the interaction between a fickle heart which has lots of love to give and a bored brain with so many thoughts - but it doesn't say it so loud that you can't just sit back and enjoy the picture. Some scenes are funny to all; some scenes may cause you to be the only hysterical person in the theater. In any case, it's well worth the ticket or rental cost. Some male nudity is present, though no more than the average British movie containing male nudity. No sex scenes are overly graphic, though one should definitely have an open mind going into the movie in order to enjoy it. If you didn't feel a significant need to leave the theater during "Gouttes d'eau sur pierres brûlantes," which I was last week, you should be able to thoroughly enjoy this film.(Lighting designers watch for the Kabuki scene; it won awards in Europe and definitely looks very cool.)
Read full review
★ 7 / 10
a strange but compelling movie about our confused sexual morals
goldeng8
I went to see it because I am fascinated with Japanese culture. Furthermore, I admire mr. Greenaway for the typical British way in which he exposes hypocrisy…
I went to see it because I am fascinated with Japanese culture. Furthermore, I admire mr. Greenaway for the typical British way in which he exposes hypocrisy, yet in a very tasteful manner, and combines this with baroque visuals. I was warned however that it had nothing resembling a coherent story. It might even be boring.Call me a twisted European, but I actually like "8.5 women", more than "Eyes wide shut"! The characters are indeed to unnatural to empathize with, and the movie will certainly stimulate your mind more than it will entertain you.....or arouse you sexually. The characters find themselves in a loosely connected stream of little scenes. Rather than making normal conversation, everyone seems to say what they think in this stream of sub-consciousness.Mr. Greenaway plays with all aspects of sex and connects these, often in a disturbing manner, with death, religion, procreation and age and gender roles. He jumps across the cultures and taboos of this globe. Of course you might be offended by the candid way in which these ideas are treated. However, explicit scenes aren't shown. It doesn't need this effect to create a strange but compelling movie about our confused sexual morals on the threshold of a new millennium.
Read full review
★ 7 / 10
Better than its Reputation
Krustallos
Despite being hissed at Cannes this film is still well worth seeing. I purchased the DVD and the more I watch it the better I like it. For a start, as with all…
Despite being hissed at Cannes this film is still well worth seeing. I purchased the DVD and the more I watch it the better I like it. For a start, as with all Greenaway's work since The Falls, the photography is ravishing. I don't think anyone makes films which look better.What few have picked up on is that (as well as an attempt to pick up Fellini's 8 1/2-ball and run with it), this is almost a remake of "A Zed and Two Noughts". Both films study bizarre responses to bereavement. both films play on doubling, in this case a father and son rather than two brothers. Both films touch on bestiality (with animals called Hortense!), gynecology, sex with amputees, a menagerie (in this case of women rather than animals), prostitution, uses of light, storytelling, and the colours black and white.Where that film referenced painting, this references performance in many guises - cinema, kabuki, cross-dressing, opera, television, prostitution, as well as painting.Contrary to at least one other user comment, there is no sexual intercourse shown in the film, although there is a quantity of nudity. It's very odd, if perhaps unsurprising, that this film has been sold as a sexy movie. SexIST? Well, confusing an ironic depiction of men's sexual fantasies with a reduction of women to the level of fantasy is 'politically correct' laziness at best. And as with most of Greenaway's films, the women are the winners in the end.One reason this is harder work than the earlier film is the lack of Michael Nyman's ravishing music. I'm not sure why Greenaway stopped working with Nyman; possibly he felt he was stuck in a rut - perhaps he was nettled by charges that any old footage looked like Greenaway if you played Nyman's music behind it. Either way, he's yet to arrive at a truly satisfactory alternative. Here we have "Slow Boat to China" sung a capella by the two leads, rather after the manner of Morecambe and Wise. It's quite funny, but it's not the marriage of sound and image of earlier films.The extent to which Philip Emmenthal represents Greenaway himself is perhaps worth considering. A character makes reference to Fellini having Mastroianni make love to all the women Fellini couldn't, and asks whether all directors make films to fulfil their own sexual fantasies. Emmenthal is notably the same age as Greenaway.He may not be sweeping the art-house scene before him these days (in fact there's not much of an art-house scene left these days), but in the end, even below-par Greenaway is better than 99% of directors can even aspire to.
Read full review
5.6/10
4.4K
•••
Do you guys even know who Peter Greenaway is? If you did, nothing here would surprise or shock you. Though, as an introduction, I'd recommend The Cook, the Thief, His Wife & Her Lover (1989) instead.