Ennio Morricone Movies
With his peerless versatility and productivity, Ennio Morricone has been one of the most famous and influential film composers since the 1960s. Drawing from classical, jazz, rock, Italian folk, and avant-garde influences, Morricone's 400-plus scores have accompanied every conceivable movie genre; his innovative soundscapes for Sergio Leone's 1960s Westerns, however, were enough to ensure his lasting reputation. His list of directorial collaborators a veritable Who's Who of post-1960 international cinema, Morricone's music has masterfully accompanied the films of most notably Leone, Bernardo Bertolucci, Pier Paolo Pasolini, Giuseppe Tornatore, Roland Joffe, Brian De Palma, and Warren Beatty.A lifelong Rome resident and classically trained musician, Morricone began studying at the Conservatory of Santa Cecilia at age 12. Advised to study composition, Morricone also specialized in playing trumpet and supported himself by playing in a jazz band and working as an arranger for Italian radio and TV after he graduated. Morricone subsequently became a top studio arranger at RCA, working with such stars as Mario Lanza, Chet Baker, and the Beatles. Well-versed in a variety of musical idioms from his RCA experience, Morricone began composing film scores in the early '60s. Though his first films were undistinguished, Morricone's arrangement of an American folk song intrigued director (and former schoolmate) Sergio Leone. Leone hired Morricone and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964). Rather than orchestral arrangements of Western standards à la John Ford -- budget strictures limited Morricone's access to a full orchestra regardless -- Morricone used gunshots, cracking whips, voices, Sicilian folk instruments, trumpets, and the new Fender electric guitar to punctuate and comically tweak the action, cluing in the audience to the taciturn man's ironic stance. Though sonically bizarre for a movie score, Morricone's music was viscerally true to Leone's vision. As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring. Though he was initially billed on Fistful as Dan Savio, Morricone's name became almost as well-known as Leone's when his more ambitious score for The Good, the Bad and the Ugly (1966) yielded a Top Ten hit (despite his avowed disdain for pop music soundtracks).
Even more so than in the first two Dollars films, Morricone's scores for The Good, the Bad and the Ugly and Leone's epic Once Upon a Time in the West (1968) elevated the action to operatic heights. Reaching crescendos in The Good's famous graveyard shootout and West's showdown between Charles Bronson's Harmonica and Henry Fonda's Frank Booth, Morricone and Leone created set pieces that were as powerful musically as visually, placing music on a par with the image rather than subordinating it. Integrating a spectral harmonica into the theme music for Booth as well as Harmonica, the soundtrack hints at their fateful relationship long before the truth is visually revealed. Morricone's scores were so integral to Leone's Westerns that he had Morricone write and record Once Upon a Time in the West's main themes, and then played them during shooting so that the actors could move to the score's rhythms. Morricone and Leone repeated this for their equally effective collaboration on the gangster saga Once Upon a Time in America (1984).
Even as he was permanently changing the landscape of Western scores, the breadth of Morricone's talent became apparent as he took on more overtly "art" film projects. Morricone's music lent drama to Gillo Pontecorvo's highly regarded, documentary-style war film The Battle of Algiers (1966); that of Algiers and his score for Pontecorvo's Queimada! (1969) were two of Morricone's outstanding, non-Leone 1960s works. Morricone also delved into the remnants of Italian cinema's postwar heritage with Marco Bellochio's unsung, late neorealist film Fist in His Pocket (1965), Bernardo Bertolucci's neo-neorealist second film Before the Revolution (1964), and Pier Paolo Pasolini's parable/farewell to that legacy, Hawks and Sparrows (1966). Keeping pace with Bertolucci's and Pasolini's evolving styles and concerns, Morricone continued to collaborate with the directors into the 1970s. From the Godard-ian Partner (1968) to the coming of age story Luna (1979) and hostage drama Tragedy of a Ridiculous Man (1980), Morricone enhanced the emotion and drama of Bertolucci's increasingly stylized (and occasionally muddled) imagery, reaching an apex with the somber, grand, and celebratory compositions for Bertolucci's epic 1900 (1976). Morricone's lavish scores for Pasolini's sexy, satirical "Trilogy of Life," The Decameron (1970), The Canterbury Tales (1971), The Arabian Nights (1974), and his notorious final film Salo, or the 120 Days of Sodom (1975), were one of the few aspects of the films not to provoke controversy.
Staying close to his genre film roots even as he advanced in art cinema, Morricone provided psychedelic accompaniment for Mario Bava's superhero romp Danger: Diabolik (1968), and crafted a series of evocative scores for Dario Argento's stylized thrillers, including The Bird With the Crystal Plumage (1969), The Cat O'Nine Tails (1971), and Four Flies on Grey Velvet (1974). Enhancing his international reputation from the 1970s onward, Morricone continued to compose for movies across the artistic spectrum as well as collaborating with an international constellation of directors and stars. Beginning with The Burglars (1971), Morricone devised straight-up action scores for several Jean-Paul Belmondo star vehicles, including Le Professionel (1981); his music also graced the wildly popular French transvestite comedy La Cage Aux Folles (1978) and its sequels. Hired by Don Siegel to give his ironic edge to the Clint Eastwood Western Two Mules for Sister Sara (1970), Morricone made his presence felt in American films in the late '70s with his eerie, pulsating music for the otherwise ridiculous sequel The Exorcist II: The Heretic (1977). Morricone finally received his first Oscar nomination for his magical, pastoral score for Terrence Malick's spectacularly beautiful Days of Heaven (1978).
Constantly working and easily shaking off such lows as a Razzie nomination for John Carpenter's remake of The Thing (1982), and the troubled fates of Sam Fuller's provocative race drama White Dog (1982) and Leone's Once Upon a Time in America (1984), Morricone hit another career peak in the mid-'80s with directors Roland Joffe and Brian DePalma. Merging Brazilian folk and European liturgical traditions through drums, flutes, oboes, chants, and arrangements of "Ave Maria" and "Te Deum," Morricone's majestic score for Joffe's award-winning epic The Mission (1986) garnered another Oscar nomination and became a soundtrack hit. One of Morricone's personal favorites (along with The Exorcist II), he has said of The Mission that it "represents me nearly completely." Morricone earned another Oscar nod the following year for his lushly orchestral, yet edgy, percussion-driven score for De Palma's popular big screen version of The Untouchables (1987). As with his durable associations with Leone, Bertolucci, and Pasolini, Morricone went on to score Joffe's Fat Man and Little Boy (1989), City of Joy (1992), and Vatel (2000), and De Palma's Casualties of War (1989) and Mission to Mars (2000).
Morricone entered into yet another fecund creative partnership in the late '80s with Giuseppe Tornatore's Cinema Paradiso (1988). A favorite of movie music fans, but not one of his Oscar nominations, Morricone's score struck the perfect balance of sentimental, bittersweet nostalgia to accompany Tornatore's paean to cinema. Morricone also scored Tornatore's more downbeat Everybody's Fine (1990), cinema love letter The Star Maker (1995), and earned kudos for his imaginative music for The Legend of 1900 (1998). His work on Tornatore's Malena (2000) earned Morricone his fifth Oscar nomination.
After excursions into Shakespeare with Franco Zeffirelli's version of Hamlet (1990) and the dark side of desire with Pedro Almodóvar's sex comedy Tie Me Up! Tie Me Down! (1990), Morricone garnered his fourth Oscar nod for his moody, period-tinged score for Barry Levinson's Bugsy (1991). As prolific in the 1990s as ever, Morricone had a happy reunion with Eastwood for the summer hit In the Line of Fire (1993), provided the violins for Bugsy star Warren Beatty's glossy remake of Love Affair (1994), brought out the horror and romance in Mike Nichols' Wolf (1994), ditto for Adrian Lyne's adaptation of Lolita (1997), and scored a docudrama about his erstwhile murdered collaborator Who Killed Pasolini? (1995). Working again with Beatty, Morricone neatly sent up political platitudes with martial horns, drums, and fifes and hauntingly paid tribute to the senator's spirit with soaring yet funereal strings in Beatty's incisive satire Bulworth (1998), earning a Grammy nomination for his work.
Even as he began to collect lifetime achievement awards, including a Golden Lion at the Venice Film Festival in 1995, Morricone continued going strong into the new millennium. Maintaining his presence in European and American cinema through his work with Joffe, De Palma, and Tornatore, Morricone also revisited another past creative relationship when he reunited with The Cannibals (1971) director Liliana Cavani for her adaptation of Patricia Highsmith's Ripley's Game (2002). ~ Lucia Bozzola, All Movie Guide
- 1994
- Add Genesis: The Creation and The Flood to QueueAdd Genesis: The Creation and The Flood to top of Queue
In this movie, filmed in the Moroccan desert and utilizing a cast of native Bedouins, stories are taken verbatim from the Bible and re-enacted on the screen. This film was originally the first episode in a 20 part adaptation of Bible stories made for Italian television. In the film, nomads gather around a desert campfire to listen to their sage tell biblical stories of the creation and the flood to his curious grandson. ~ Sandra Brennan, All Movie Guide
- Starring:
- Omero Antonutti
Michael Douglas runs afoul of a treacherous supervisor in this film version of Michael Crichton's novel. Douglas plays Tom Sanders, an executive at DigiCom, a leading computer software firm. DigiCom is about to launch a new virtual reality-based data storage system that is expected to revolutionize the industry, and Bob Garvin (Donald Sutherland), the owner of the company, is in the midst of negotiating a merger that could bring $100 million into the firm. However, while Tom is expecting a promotion, he discovers the position has been given instead to a new hire, Meredith Johnson (Demi Moore), with whom Tom had an affair years ago, before he was married. After her first day of work, Meredith invites Tom up to her office and makes a concerted attempt to seduce him; while Tom doesn't fight off her advances with very much gusto at first, eventually he decides things have gone too far and leaves in a huff. The next morning, Meredith accuses Tom of sexual harassment, and he realizes this was merely a power ploy to get him out of DigiCom for good; Tom, determined to fight, files a counter-suit, which makes him no friends at the company, since rocking the boat too hard could very well scotch the merger. Dennis Miller also appears as one of Tom's wise-cracking co-workers. ~ Mark Deming, All Movie Guide
- Starring:
- Michael Douglas, Demi Moore, (more)
Jack Nicholson becomes a werewolf in this bizarre comedy-horror film directed by Mike Nichols. Nicholson plays Will Randall, a book editor with a testosterone deficit who has just been sacked at his publishing firm by a new boss, Raymond Alden (Christopher Plummer). A colleague, Stewart Swinton (James Spader), whom Randall thought was his friend, betrays him. Randall's personality changes after he hits a wolf with his car and gets bitten by the creature. He immediately feels more powerful, has heightened hearing and vision, and sets about to right the wrongs in his life. He visits Alden at the publisher's mansion to protest his dismissal, and he is asked to leave -- but Alden's daughter Laura (Michelle Pfeiffer) asks him to stay for lunch. Laura loves to defy her father. Will tells her about the wolf bite, and she becomes attracted to him. But because werewolves usually kill the ones they love, Laura is in danger. Will reasserts his place in the publishing world, supported by his loyal secretary Mary (Eileen Atkins), and his relationship with Laura deepens. ~ Michael Betzold, All Movie Guide
- Starring:
- Jack Nicholson, Michelle Pfeiffer, (more)
- 1993
Fuzzy memories of Anne Frank's diary sometimes cause people to forget that at the height of World War II, Nazi-occupied Amsterdam was not a safe haven for Jews. While many people in the Netherlands and elsewhere risked their lives to protect them, a great many more enthusiastically assisted the Nazis in mistreating them. This children's drama is based on the autobiographical book Kinderjaren by Jonah Oberski. Beginning with his recollections as a four-year old boy, he witnesses the increasing isolation and persecution of his Jewish family living in Amsterdam, until finally they are rounded up and sent to an internment camp. There, while his mother goes mad and his father grows increasingly ill, he is unwittingly drawn to become a member of the group of boys that help with the running of the camp. Jonah is played by two boys: Luke Petterson plays him as a young boy, and Jenner Del Vecchio plays him as an adolescent. ~ Clarke Fountain, All Movie Guide
- Starring:
- Juliet Aubrey, Jean-Hugues Anglade, (more)
- 1993
The seemingly endless chain of assassinations of judges who seek to end (or at least curtail) the pervasiveness of organized crime and deep corruption in Italian political life, is the topic of this political thriller. As the film opens, Carla (Carla Gravina) is the gynecologist wife of a judge (Jacques Perrin) who is determined to prosecute the country's gang lords with the help of an informant. His life is constantly under threat. Despite the pervasive presence of police bodyguards, the inevitable happens, and he and his informant are killed. Carla, infused with his mission and angry at his death, takes the notes he had hidden and contacts the widow of the informer. With that material, she produces a television documentary featuring the widows of assassinated judges. Of course, this puts her and many others in danger also. Despite this, it begins to appear that she has roused the women of the country to action. ~ Clarke Fountain, All Movie Guide
- Starring:
- Carla Gravina, Jacques Perrin, (more)
Thriller about a new prosecuting magistrate in Sicily, who replaces his assassinated predecessor only to find himself the new target of corrupt killers within the government. Score by Ennio Morricone. ~ Nicole Gagne, All Movie Guide
- Starring:
- Claudio Amendola, Enrico Lo Verso, (more)
Clint Eastwood delivers one of his finest performances, as a secret service agent haunted by his past in Wolfgang Petersen's taut thriller In the Line of Fire. Eastwood plays Frank Horrigan, a secret service agent who keeps thinking back to November 22, 1963, when, as an agent hand-picked by President Kennedy, he became one of the few agents to have lost a president to an assassin. Decades later, psychotic Mitch Leary (John Malkovich) is stalking another president (Jim Curley) running for re-election. He has spent long hours studying the psyche of Frank Horrigan, and he taunts Horrigan (feeling that there is a bond between them), telling him of his plans to kill the president. After his conversation with Leary, Horrigan makes sure he is assigned to presidential protection duty. Horrigan has no intention of failing his president this time around, and he is more than willing to take a bullet. But everything goes Leary's way -- he is smart and cagey and the president's aides refuse to alter the itinerary. As the election draws closer, Horrigan's chances to catch Leary look to be less and less a possibility, and he begins to doubt his own abilities -- both now and in the past, when Kennedy was murdered. ~ Paul Brenner, All Movie Guide
- Starring:
- Clint Eastwood, John Malkovich, (more)
- 1993
Desmond Denton (Joe Gibbons) is a whacko psychiatrist who has invented a machine that enables him to practice giving himself "personality transplants" using his patients for the source material. When he adopts the personality of a terrorist client, the rest of the world had better watch out: he's getting addicted to this one. ~ Clarke Fountain, All Movie Guide
In this drama, a wealthy American doctor learns some important lessons about life in one of the poorest cities on Earth. Max Lowe (Patrick Swayze) is a Houston surgeon who has grown weary of the bureaucracy of American medicine. When he loses a patient on the operating table, Max impulsively decides to leave America and travel to India in the hope of "finding himself." Not long after he arrives in Calcutta, Max is attacked by a group of thugs and left without money or a passport. However, a man named Hasari (Om Puri) comes to Max's rescue. Hasari had left his farming community to come to the city, only to be overwhelmed by its dirt, crime, and overcrowding. Despite their poverty, Hasari and his family take Max in and bring him to a medical clinic in the City of Joy, one of the poorest slums in the city. The clinic is run by Joan Bethel (Pauline Collins), an Irish-American nun who urges Max to use his skills to help the people of Calcutta who so desperately need it. Max signs on, and he finds that the experience changes his life. City of Joy was based on a novel by Dominique Lapierre. ~ Mark Deming, All Movie Guide
- Starring:
- Patrick Swayze, Pauline Collins, (more)
In Beyond Justice-- an Italian-made action film directed by Tessari Duccio with an unusually fine cast -- Christine Sanders (Carol Alt), American millionairess and mother of the grandson of a fanatic Emir (Omar Sharif), hires mercenary Tom Burton (Rutger Hauer) to return her son after the Emir has him kidnapped. Against the advice of her lawyer (Elliott Gould) and her friend Sal (Brett Halsey), Christine accompanies Tom and endures a series of hardships such as a surprise attack and a sandstorm. This rather old fashioned, slow film is entirely predictable and tedious. Nothing can keep the audience interested despite the beautiful color photography of the desert or the excellent musical score by Ennio Morricone. ~ Linda Rasmussen, All Movie Guide
- Starring:
- Rutger Hauer, Carol Alt, (more)
- 1992
Julia had a good job in the old communist-ruled Hungary. She was an electrical engineer. Now she is thirty, and since the government has fallen, the rules of the game have changed. Without a job for the first time in many years, she discovers that her husband has been carrying on with his boss' daughter, so she moves in with an older woman who has been her friend for some time, a widowed lawyer. After some searching, she finds a job as a waitress and becomes embroiled in the restaurant-owner's struggle to hang on to the business in the face of efforts by a local gang to take it over for themselves. ~ Clarke Fountain, All Movie Guide
- Starring:
- Rita Tushingham, Aniko Fur, (more)
- 1991
- R
Three very odd relationships provide the basis for this thought-provoking Italian anthology that is overseen by director Bernardo Bertolucci. The first tale, "The Blue Dog" centers on a barber who becomes the fixation of a mysteriously devoted dog with an unusual blue spot upon his head. In "Especially on Sunday," a traveler encounters a woman and a man beside a river and offers them a ride. The woman is quite the coquette and she chattily explains that she is visiting her companion, who suffers from a debilitating breakdown. They all stop for lunch and her friend begins telling them a disturbing, surreal tale. The third tale "Snow on the Fire," features a repentant woman who confesses a dark secret to the town priest. It seems the old woman has grown addicted to watching her son make passionate love to his new bride, who knows that she is watching and seems to enjoy it all the more. ~ Sandra Brennan, All Movie Guide
- Starring:
- Philippe Noiret, Chiara Caselli, (more)
- 1991
The Bachelor is based on a novel by Austrian author Arthur Schnitzler, of Affairs of Anatol fame. Keith Carradine stars as an unmarried doctor who prefers his will-o-the-wisp existence, avoiding any lasting relationships. Carradine is thrown for a loop when the only person whom he cares about commits suicide. Left with no frame of reference, the doctor is forced to start his life all over again-beginning with his belated sexual initiation. As superb as Carradine is in The Bachelor, his costar Miranda Richardson is absolutely stunning in a dual role. Released in Italy as Mio caro dottor Grasler in 1991, The Bachelor made it to American shores two years later. ~ Hal Erickson, All Movie Guide
- Starring:
- Keith Carradine, Miranda Richardson, (more)
Bugsy is a character study of mobster Benjamin "Bugsy" Siegel wrapped up in a gangster movie. Siegel (Warren Beatty in a flashy performance) arrives in California in the Forties, assigned to oversee the L.A. rackets. He is quickly seduced by both the glamour of Hollywood and actress Virginia Hill (Annette Bening), whom he romances despite being unable to leave his wife and children. Siegel soon has a vision to transform a barren stretch of Nevada desert into an oasis of gambling and entertainment -- the seeds from which Las Vegas was sown. Funded by his gangster bosses, including Meyer Lansky (Ben Kingsley), the flamboyant Siegel sees his budget soar past its original $6 million, a problem compounded by the fact that Virginia has embezzled $2 million of it. In trouble with his superiors, Siegel flies back to L.A. to face the music, telling Virginia to keep the money. He would not live to see his dream of Las Vegas come true. The film is fast-paced and well-directed by Barry Levinson, with an intelligent script by James Toback and excellent support from Kingsley and Harvey Keitel as gangster Mickey Cohen. ~ Don Kaye, All Movie Guide
- Starring:
- Warren Beatty, Annette Bening, (more)
- 1991
- R
Based on the Alberto Moravia novel, Husbands and Lovers examines a modern couple's untraditional open marriage. ~ Jason Ankeny, All Movie Guide
- Starring:
- Julian Sands, Joanna Pacula, (more)
- 1991
In this popular Austrian comedy, a mother and her conniving son are well on their way to achieving their goal of lifetime comfort and ease. They have fraudulently gotten the will of their wealthy landlord altered in their favor, and now that she is dead, they have begun to live a little. Imagine their distress when a long-lost daughter of the wealthy woman shows up on their doorstep. Since she is a poorly dressed woman who speaks no German, having grown up in the Balkans, they soon come to believe that they can probably con her into marrying the son. This will have the dual benefit of keeping them out of jail and will save them the inconvenience of having to kill her. Little do they suspect that despite her unstylish appearance and undeveloped language skills, she's far from stupid, and before long the frumpy girl from the country has taken these two con-artists well in hand. ~ Clarke Fountain, All Movie Guide
- Starring:
- Elfi Eschke, Hanno Pöschl, (more)
- 1990
- NC17
"I'll never love you . . . ever!" the sexy and attractive Marina (Victoria Abril) states emphatically to the love-struck Ricky (Antonio Banderas). You know she means what she says because when she makes this statement she is handcuffed and lashed to a bed, not exactly the proper way to warm anyone up for romance. Yet in Pedro Almodovar's Tie Me Up! Tie Me Down! the way to a woman's heart is depicted as being held in captivity until the Stockholm Syndrome kicks in. The film concerns the plight of Marina, a "B"-movie diva trying to adjust to her recent success after years of porno films and drug addiction. But then into her life comes Ricky, a part-time handyman and full-time mental patient, who, during one of his past escapes from the mental ward, had spent the night with Marina -- who gave in to him during one of her less-discerning moments. Since then, Ricky has been thinking of her constantly. Determined to win her affections, he kidnaps Marina, holding her captive in her own apartment and trying everything to convince her to love him -- then they could marry and have a big family. All Ricky's attempts to woo Marina fail. Finally, after taking a severe beating from some street thugs, he strikes a chord in Marina's nurturing heart so that when her sister Lola (Loles Leon) finally discovers her plight, Marina no longer wants to be rescued. ~ Paul Brenner, All Movie Guide
- Starring:
- Victoria Abril, Antonio Banderas, (more)
- 1990
The modest, highly praised, award-winning cinematic production designer Pierre Guffroy is the subject of this reportedly somewhat uneven documentary. Among the notable directors he worked for were Luis Buñuel, François Truffaut, Milos Forman, Jean Cocteau and Roman Polanski; not only that, but he was the designer for many of their most famous films. Some of these gentlemen, as well as actors Nastassja Kinski and Harrison Ford, discuss the man and his work. The designer indicates that though he is looking for very precise effects, he always takes the difficulties of shooting into account, and does not demand impossible shots from the cinematographers. ~ Clarke Fountain, All Movie Guide
- Starring:
- Nastassja Kinski, Harrison Ford, (more)
Stars and famous locations abound in this multinational production, a would-be "financial thriller" about swindles and betrayals among jet-set gazillionaires, which takes place in glamor spots all over the globe. Somebody has stolen millions of dollars from his father, and Frank Cimballi (Eric Stoltz) means to find out who. To that end, he enlists the help of a variety of people, including a man (Mario Adorf) who is wealthy in his own right, and a French private eye (Bruno Cremer) who appears to have read too many American detective novels. The bad guys seem to have Nazi connections, which adds spice to the chase, but reviewers discounted this movie, based on a best-selling French novel, for its slapdash storytelling. ~ Clarke Fountain, All Movie Guide
- Starring:
- Maryam D'Abo, Bruno Cremer, (more)
- 1990
This made-for-television film Voyage of Terror: The Achille Lauro Affair chronicles the true story of the 1985 hijacking of an Italian cruise ship by a group of Palestinians. Voyage of Terror is primarily told through the viewpoint of Leon and Marilyn Klinghoffer (Burt Lancaster and Eva Marie Saint), an elderly couple who happen to be on board during the hijacking, yet the film also follows the ordeals of other hostages and the terrorists themselves, who are led by Joseph Nasser in a compelling performance. Voyage of Terror was shot on the actual Achille Lauro cruise ship and was originally aired as a two-part mini-series. ~ Stephen Thomas Erlewine, All Movie Guide
This directorial effort from Phil Joanou stars Sean Penn as an Irish-American undercover cop working the Hell's Kitchen beat. Penn is ostensibly on a sentimental journey to his old neighborhood. Actually he's been assigned to infiltrate a criminal gang led by Ed Harris, the brother of Sean's best friend Gary Oldman. Penn suffers the requisite honor vs. duty anguish when he renews his childhood romance with Harris' sister Robin Wright. State of Grace would have had more clout had it been more clear as to time and place: it's supposedly set in the 1990s, but the attitudes and behavior are pure 1970s. ~ Hal Erickson, All Movie Guide
Franco Zeffirelli directs his third Shakespeare adaptation (after Romeo and Juliet and Otello) with this film version of the tragedy Hamlet. The titular prince of Denmark (Mel Gibson), returns home to his family's castle of Elsinore after years of attending school in Germany to find out his father has died and his uncle Claudius (Alan Bates) is the new king. To make matters worse, Claudius has married Hamlet's mother, Queen Gertrude (Glenn Close), whom he has unusually strong feelings for. Hamlet is visited by his father's ghost (Paul Scofield), who asks him to seek revenge for his murder. In order to find out who the real killer is, Hamlet stages a theatrical scene resembling his father's death. Claudius is upset by the production and leaves to arrange for Hamlet's murder. In the ensuing confusion, Hamlet accidentally kills Polonious (Ian Holm) instead of Claudius; Hamlet's lover, Ophelia (Helena Bonham Carter), goes mad and commits suicide; and eventually Hamlet and Claudius both meet their fate. ~ Andrea LeVasseur, All Movie Guide
- Starring:
- Mel Gibson, Glenn Close, (more)
- 1990
- PG13
In this sentimental, tragicomic drama, Matteo Scuro (Marcello Mastroianni) is an old widower living in Sicily. His five grown children have scattered all over Italy, and he has heard nothing but glowing reports from them about their lives and careers. One day he takes it into his head to visit these paragons who have fulfilled every one of his ambitions for them. Eventually he discovers that all his children have been lying to him for a very long time because they were afraid to disappoint their papa; their lives are shabby and very much on the edge, and one of them has long-since committed suicide (unbeknownst to him). This daunting truth provokes a heart attack in the old man, who still has a few lies yet to tell and hear, because he insists (as do his children) that "everything is fine." ~ Clarke Fountain, All Movie Guide
- Starring:
- Marcello Mastroianni, Michèle Morgan, (more)
Filmmaker David Leland handled the directing chores on this British drama that stars Liam Neeson as an unemployed Scotsman whose inability to find a job threatens his family's wellbeing. Against his better judgement, Neeson is coerced into a bare-knuckle boxing match. Crossing the Line's supporting cast includes Hugh Grant, Joanne Whaley-Kilmer, Cameron Mitchell, and Billy Connolly. Adapted from a novel by William McIvanney, the film has also been released under the title The Big Man. ~ Hal Erickson, All Movie Guide
- Starring:
- Liam Neeson, Joanne Whalley, (more)
