Foreign Classics

This upbeat adventure tells a lively tale -- devoid of sex and violence -- that the whole family can enjoy. The fairy-tale begins as the beautiful Ana abruptly changes her mind about marriage while standing at the alter of a Caracas church, and boards a flight to Paris carrying only a small suitcase and her favorite poster of Maria Callas. She ends up in a tiny apartment filled with other illegal South American immigrants, one of whom is the strong-willed, self-absorbed video artist Celeste. Ana, who dreams of becoming a famous singer like Callas, soon begins studying voice with an aged Russian gentleman. In another part of town, a filmmaker searches the city for a singer to assume the lead in his forthcoming film version of Rossini's "Cinderella." Ana is at a cafe one day when a gay waiter uses his psychic powers to predict that great things will happen to her. Ana then makes friends with a moody psychiatrist. Behind it all, an African sorcerer works potent magic of his own. ~ Sandra Brennan, All Movie Guide

Internationally famed action star Jackie Chan tones down his usual martial arts pyrotechnics for a more traditionally dramatic role in this police drama. Crime Story finds Chan portraying a Hong Kong police detective, an honest cop guilt-ridden over his participation in a recent shoot-out. He is absolved of wrong-doing by the force, however, and assigned to protect a major real estate developer. Despite Chan's best efforts, though, the man under his care is soon kidnapped. The criminals demand millions in payment from the developer's wife, and Chan takes it upon himself to try and foil their plot and rescue the developer. His job is made more difficult by the fact that his new partner on the case, an esteemed detective, is secretly in cahoots with the criminals. Though there are a number of martial arts sequences near the film's climax, much of the action is more typical of Hollywood than Hong Kong, consisting of shoot-outs, explosions, and extended car chases. The ample amount of blood and the overall gritty tone combines with Chan's restrained performance to create a darker experience than most other Chan films familiar to American audiences. ~ Judd Blaise, All Movie Guide

Jet Li stars in this historical Hong Kong action film, as Chen Zhen, a Chinese student in Japan in the 1920s. When his master is killed during the Japanese occupation of China, he returns to avenge his teacher's death. Back in China, he finds himself caught in the escalating racial tensions between the Chinese and the Japanese. The martial arts sequences in this 1994 film are handled more seriously than flashy acrobatics of other kung fu epics of the time and are perhaps a better showcase for Li's awe-inspiring fighting abilities. This story is inspired heavily by Bruce Lee's classic Fists of Fury. ~ Jonathan E. Laxamana, All Movie Guide

The original Nighthawks was a ground-breaking gay coming-out story, and a quite unusual feature film for Britain in 1978. Here, Ron Peck, the gay director of that feature, talks about his own life, what events in it led to the filming of Nighthawks, and what has happened since then. In particular, he talks about the debilitating effects of a cultural environment in the 1970s which, although it advocated a new openness and freedom of spirit for homosexuals, also actively fostered shallow promiscuity over the development of genuine relationships. In his view, the changes brought about by the AIDS epidemic have had at least one benefit, in that promiscuity is no longer encouraged and relationship-building is favored. Clips from the earlier movie and behind-the-scenes shots are included (including many scenes which had been cut). The filmmaker also discusses (and shows clips from) films which inspired him, notably Victim (1961) and Flesh (1968). It is his fervent wish that the path will be smoother for young gays coming to maturity today, and he hopes that his film has contributed to that in some small way. ~ Clarke Fountain, All Movie Guide

Fritz Lang's classic early talkie crime melodrama is set in 1931 Berlin. The police are anxious to capture an elusive child murderer (Peter Lorre), and they begin rounding up every criminal in town. The underworld leaders decide to take the heat off their activities by catching the child killer themselves. Once the killer is fingered, he is marked with the letter "M" chalked on his back. He is tracked down and captured by the combined forces of the Berlin criminal community, who put him on trial for his life in a kangaroo court. The killer pleads for mercy, whining that he can't control his homicidal instincts. The police close in and rescue the killer from the underworld so that he can stand trial again in "respectable" circumstances. Some prints of the film end with a caution to the audience to watch after their children more carefully. Filmed in Germany, M was the film that solidified Fritz Lang's reputation with American audiences, and it also made a star out of Peter Lorre (previously a specialist in comedy roles!). M was remade by Hollywood in 1951, with David Wayne giving a serviceable performance as the killer. ~ Hal Erickson, All Movie Guide

In Roman Polanski's adaptation of Thomas Hardy's Tess of the D'Urbervilles, Nastassja Kinski plays Tess, a poor British peasant girl sent to live with her distant and wealthy relatives, the D'Urbervilles. Though Tess' father had hoped that the girl would be permitted a portion of the D'Urberville riches, he is in for a major disappointment: Tess' new housemates are not D'Urbervilles at all, but a social-climbing family that has bought the name. Tess won three Oscars, including a "Best Cinematography" statuette for the late Geoffrey Unsworth and his successor Ghislain Cloquet. The film also served to catapult Nastassja Kinski to stardom. ~ Hal Erickson, All Movie Guide

Adapted from a novel by Georges Simenon, Betty stars Marie Trintignant in the title role. A drunken wastrel, Betty is adopted after a fashion by an older female alcoholic named Laure, played by director Claude Chabrol's wife at the time, Stéphane Audran. Fascinated by Betty's hard-luck tales, Laure endeavors to protect the younger woman from the ravages of a cruel world. Unfortunately, she turns a blind eye to Betty's larcenous streak, which manifests itself at the worst possible moments. This tale of a irredeemable ne'er-do-well is fleshed out by a flashback-flashforward technique that some observers found confusing and distracting. ~ Hal Erickson, All Movie Guide

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide

The American Film Theatre has made movies of a number of significant theatrical performances, including Laurence Olivier's Othello. Another of these filmed theatricals is Simon Gray's Butley, which was brought to the screen by playwright Harold Pinter, and which features an astonishing performance by Alan Bates. The story focuses on one very bad day in the life of Butley (Bates), a feisty, sharp-tongued, lazy and pathetic professor of English. His professional ascendancy is challenged by a slick, accomplished woman many years his junior; his ex-wife gives him conniptions when she announces her remarriage to someone he cannot bear; and his male lover of several years chooses this time to announce that he is leaving him for a sweeter-tempered but very ordinary man of the sort Butley despises. Bleak though this sounds, Butley's unconquerable wit and biting repartee transform this otherwise tragic tale into something of a celebration of survival. ~ Clarke Fountain, All Movie Guide

A reclusive, unhappy gold magnate finds his isolated tropical paradise threatened by the intrusion of organized criminals in director Nicolas Roeg's convoluted, arty drama. Gene Hackman stars as Jack McCann, a one-time gold prospector who his parlayed the discovery of a rich deposit in the Canadian wilderness into an immense fortune. Instead of satisfaction, McCann's wealth leads to depression and paranoia, and he moves to a remote island and withdraws from the world. The bulk of the film centers on what has become of McCann some thirty years later, as he attempts to deal with a troubled daughter (Theresa Russell) and the attentions of the Mafia, who want to build a new casino on his tropical home. As the pressures increase, his efforts to protect his property and maintain his family become increasingly desperate, culminating in an extended public trial. Even stranger and more stylized than most of Roeg's work, the disjointed Eureka will seem incomprehensible and painfully pretentious to those with little patience for his indirect narratives and purposefully exaggerated approach. Devoted fans, however, will find further proof of the director's impressive visual sense, especially during the film's earlier sequences. ~ Judd Blaise, All Movie Guide

Unlike other feature-length versions of European TV miniseries, Heimat loses nothing in its translation to the big screen. It was 15 1/2 hours on TV, and remained 15 1/2 hours in theatres! Produced for German television over a 5-year period, Heimat details the turbulent years between 1919 and 1982 through the eyes of the citizens of a small, fictional German village. The central character is Marita Breuer, who matures from a fresh-faced teen to a wrinkled, grim-visaged survivor of the best and the worst life has to offer. The final sequences, far removed from such traumatic collective experiences as the inflation of 1923 and the war of the 1940s, tend to be more sentimental than the earlier passages, but are no less masterfully handled by director Edgar Reitz. Also worth noting is cinematographer Gernot Roll's creative use of color, often switching between hues and monochrome within a scene for dramatic impact. ~ Hal Erickson, All Movie Guide

Luchino Visconti (Count don Luchino Visconti di Modrone) was a film director, true, but he was also a nobleman and a grand patron of traditional European culture: opera, art, music, crafts and literature. These interests enliven many of his films, but few have been so inspired as the four-hour epic, Ludwig, about the castle-building "mad king" of Bavaria. This long film, made very near the end of Visconti's life, suffers greatly when shortened, as every moment is essential to the story. There are at least four different versions of the film (from just under three hours to over four hours in length); the uncut four-hour version is the most coherent, even though many might find it rather long. The disintegration of aristocratic individuals is a continuing theme of Visconti's, though Ludwig's is the most thorough decay he filmed. The last ruling king of Bavaria (1845-1886) is noted for many things besides his eccentricities: he sold Bavaria to Germany, ending the rule of the Bavarian monarchy; he built amazing castles all over his country (with the proceeds from the sale); and he was Richard Wagner's main sponsor. He was also a notorious recluse, conducting a lifelong platonic love affair with Empress Elizabeth of Austria, and finally succumbing to his adoration of handsome men in a series of outrageous affairs and orgies. His excesses eventually led to his being declared mentally incompetent and being held prisoner in his own castle. The film depicts this incredible life from his coronation at age 19 to his (unproved) assassination well over 20 years later. ~ Clarke Fountain, All Movie Guide