Philip Glass Movies

Former Secretary of Defense Robert S. McNamara is the sole focus of documentarian Errol Morris's The Fog of War, a film that not only analyzes McNamara's controversial decisions during the first half of the Vietnam War, but also his childhood upbringing, his education at Berkley and Harvard, his involvement in World War II, and his later years as president of the World Bank. Culling footage from almost 20 hours of interviews with the Secretary, Morris details key moments from McNamara's career, including the 1945 bombing of Tokyo, the Cuban Missile Crisis, and President Kennedy's suggestions to the Secretary that the U.S. remove itself from Vietnam. Throughout the film, the 85-year-old McNamara expounds his philosophies on international conflict, and shows regret and pride in equal measure for, respectively, his mistakes and accomplishments. ~ Michael Hastings, All Movie Guide

A forward-looking woman attempts to teach a primitive child the ways of humanity as her neighbors prefer to remain in the past in this drama from Michael Mackenzie, which he adapted from his own play. In 1888, a wealthy heiress from Philadelphia (Patricia Clarkson) marries a British Baron (Colm Feore) and with him moves to Paris. Since the Baron travels often as he plies his trade as an art dealer, the Baroness finds herself alone at home, without friends or acquaintances. Hoping to attract a circle of intellectually challenging companions, the Baroness takes it upon herself to design a salon, which, along with up-to-the-minute furnishings and impressionist paintings, includes such new technology as electric lighting and a phonograph. However, the Baroness' new salon fails to earn her the respect of her neighbors, who tell the Baron they find his new bride's fascination with technology and democracy boorish and laughable. Making things worse, the Baroness comes to the realization that her husband is more interested in her money than her mind, and his sexual demands of her are brutal and violent. In time, the Baroness devotes her time to a new project -- a feral child (Caroline Dhavernas) has been found in a stable, where she lived with a heard of pigs, and the Baroness takes it upon herself to teach the child to walk, speak, and behave in a civilized manner, a task many believe is doomed to failure. The Baroness and the Pig was screened in competition at the 2003 Sundance Film Festival. ~ Mark Deming, All Movie Guide

Filmmaker, philosopher and activist Godfrey Reggio completes the film trilogy he began with Koyaanisqatsi and Powaqqatsi in this visually striking examination of the impact of technology upon our culture. Naqoyqatsi is a word from the Hopi language which roughly translates as "war as a way of life" or "a life of killing each other," and in this film Reggio uses a intense barrage of images - most of which have been drawn from existing film footage and then altered using a variety of optical and digital techniques - to express his belief that technology is no longer at war with nature. Instead, we have allowed technology to become the "nature" in which we live, and as it stretches our physical and emotional environment in new and troubling directions, we have created for ourselves a world of greater chaos, violence, and confusion. As with his previous features in this trilogy, Naqoyqatsi features an original score by Philip Glass, featuring cello solos by Yo-Yo Ma; director Steven Soderbergh, a noted admirer of Reggio's first two films, served as executive producer. ~ Mark Deming, All Movie Guide

Philip Glass, the minimalist composer whose works include the soundtrack for the acclaimed art film Koyaanisqatsi, commissioned a set of film projects in 2001, including this one, Passage. In it, female director Shirin Neshat reveals an enigmatic desert land in which funeral customs display and contrast Islamic male and female cultural roles. A young girl plays in the dirt while a mysterious rhythm overtakes a circle of women in the desert, and a group of men travels on foot over all types of terrain to transport the body of the deceased. The distinctive customary apparel of both the men and women stands out against the nature of landscapes and the elemental sand, water, and finally, fire. Neshat was backed up by an Iranian crew to produce this short film, just under 12 minutes long, which provides expansive and vibrant views of Morocco. Glass' music accompanies the wordless piece, enhancing the subtle rhythms and gender-based contrasts of the ritual it portrays. Originally commissioned for a series at Lincoln Center in New York, Passage was purchased for the Solomon R. Guggenheim Museum (also in New York) where it was screened as part of the "Moving Pictures" exhibit in 2002. ~ Sarah Sloboda, All Movie Guide

Mark Edlitz, an associate of David Mamet who has assisted him on several stage and screen projects, makes his debut as a writer and director with The Eden Myth. A wealthy family sees their dirty laundry exposed as bizarre secrets and a history of incest come to light. Philip Glass contributed the musical score to this drama which was shown at the 1999 Rotterdam Film Festival. ~ Mark Deming, All Movie Guide

Peter Weir directed this comedy-drama, a commentary on all-pervasive media manipulation. Scripted by Andrew M. Niccol (Gattaca), the film plays like a combination of the British TV series The Prisoner and Paul Bartel's The Secret Cinema. Truman Burbank (Jim Carrey) is unaware that his entire life is a hugely popular 24-hour-a-day TV series. In this real-time documentary, every moment of Truman's existence is captured by concealed cameras and telecast to a giant global audience. His friends and family are actors who smile pleasantly at Truman's familiar catchphrase greeting, "In case I don't see you later, good afternoon, good evening, and good night!" Employed at an insurance company, Truman is married to merry Meryl (Laura Linney), and they live in the cheerful community of Seahaven, an island "paradise" where the weather is always mild and no unpleasantness intrudes. This is the basic situation of the series, which has grown over the years into a billion-dollar franchise for the TV network. As an unwanted pregnancy, Truman was adopted by the network and raised in the zoolike environment of a TV soundstage. Thus, the TV audience became hooked when Truman was very young. Now, at age 30, he still doesn't know he's a prisoner on an immense domed city-size soundstage, simulating Seahaven. Both the illusion and the ratings will collapse if Truman ever leaves Seahaven. In addition to elaborate events staged to make sure he stays put, Truman is given constant reminders of how wonderful Seahaven is compared to dangers in other parts of the world. However, his growing suspicions make him curious enough to try to leave, and the show's director and master manipulator Christof (Ed Harris) must constantly devise ways to thwart Truman's escape attempts. To enter the harbor, Truman must overcome his fear of water, intentionally instilled in him when his father "died" in a boating accident and was written out of the script. Exteriors were filmed in the Victorian-styled upscale community of Seaside, Florida. In addition to the Burkhard Dallwitz score, original music by Philip Glass and classical excerpts are also featured. ~ Bhob Stewart, All Movie Guide

Jeanne Labrune wrote and directed this French psychological drama that begins on a train when impoverished carpet salesman Samuel (Daniel Duval) eyes a sleeping woman, Muriel (Nathalie Baye), and peppers her with personal questions when she awakens. A successful screenwriter and novelist, Muriel has just been dropped by her older lover, so it's not long before Samuel becomes a presence in her polished Paris apartment, an arena for some intense sexual activities. Only problem -- as Muriel realizes the demented Samuel has drawn her into an abusive relationship, she is simultaneously attracted to him and frightened of him. The soundtrack features an excerpt from Philip Glass' opera Einstein on the Beach. Shown in competition at the 1998 Montreal Film Festival. ~ Bhob Stewart, All Movie Guide

Sean Mathias directed this screen adaptation of Martin Sherman's award-winning play about the persecution of homosexuals by Nazis during World War II. In Germany, the Nazi party's program of genocide against any and all perceived "enemies" is coming into full swing when the party begins a violent purge of homosexuals in its membership. Max (Clive Owen), a bisexual playboy, is attending an orgy thrown by drag queen "Greta" (Mick Jagger) and featuring a number of party members when the festivities are raided by the police; Max and his lover Rudy (Brian Webber) escape, but they are later arrested and sentenced to a concentration camp. En route to the camp, Max betrays Rudy and arranges to be given a yellow identification star, marking him as a Jew, instead of a pink triangle, which would signify him as gay; while the Jews are destined to be executed, gay prisoners receive even more brutal treatment from the guards. While incarcerated, Max meets Horst (Lothaire Bluteau), an inmate who proudly wears the pink triangle. Max and Horst fall in love with each other, and Horst's bravery leads Max to accept his sexual identity. Bent was released in two versions; the original cut was rated NC-17 for a sequence featuring strong sexual content, while a trimmed version was granted an R. ~ Mark Deming, All Movie Guide

The fate of a remote Brazilian province will be determined by the passage of a reclamation bill. If the bill goes through the land will be destroyed. Fortunately, Father Stephen Lewis is working hard to stop it. For months he has led numerous high-profile protests, but then just a few days before the assembly retires to decide the bill, he simply vanishes. This off-beat political thriller chronicles the attempts of American reporter Michael Coleman to find the radical priest and interview him. Coleman, who works for a paper in Rio, is obsessed with finding Father Lewis for over the months the two have developed a tempestuous, argumentative relationship over the phone. Privately, Coleman wonders if the outspoken priest's actions mask ulterior motives. Still, he cannot help but respect the father's charisma and drive. So desperate is Coleman to find Lewis, that he stops at nothing, calling in every favor, and even resorting to dirty tricks. In the end it is his blatant abuse of media power that manages to keep the would-be land-grabbers from succeeding. ~ Sandra Brennan, All Movie Guide

This sequel to director Bernard Rose's superb, metaphorical Candyman is a more straightforward Gothic horror project, discarding any association with the events of the previous film (which was based on the short story "The Forbidden" by horror surrealist Clive Barker) aside from the title entity, played again by the imposing Tony Todd. A melancholy but extremely deadly ghost, Candyman is revealed -- in a compelling sequence of flashbacks -- as the vengeful spirit of Daniel Robitaille, a black portraitist in post-Civil War Louisiana who was set upon and horribly mutilated by an angry white mob in retaliation for his affair with a plantation owner's daughter. In present-day New Orleans, at the height of Mardi Gras festivities (the film's title refers to the literal translation of the Latin "Carnival"), Candyman walks the realm of the undead, with a hook in place of the hand he lost to the lynch mob, waiting to be summoned by the recitation of his name five times into a mirror. The latest victims of his evisceration skills include members of the Tarrant family, with young schoolteacher Annie (Kelly Rowan) next in line. Her family's connection with the Candyman legend is eventually revealed when Annie visits the family estate to uncover the link between her ancestors and Daniel Robitaille himself. This is a well-executed horror film, with fine performances and good use of the subtle menace underlying the Mardi Gras ambience, but the deft hand of Barker is clearly absent, leaving a standard horror plot without the mythical resonance of the original. The chilling Philip Glass score is a definite plus, though. ~ Cavett Binion, All Movie Guide