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Crime and Punishment (2002)
Great
I'm a book lover but I loved this. Yes, it left out some stuff (Marmeladov's long intro scene, Katerina's mad scene, Luzhin trying to frame Sonia for theft and failing), but it's a deep and inspired adaptation wit a really great cast.
I came for John Simm and I found him totally absorbed int the role, not a trace of the Master. He's wonderful. I believed him from the first moment.
Ian McDiarmid if an excellent Porfiry, annoying like hell (as he should be!), good to see him in something other than SW.
And Nigel Terry steals every scene he's in. No, he's not exactly book!Svidrigailov, they romanticized him a bit and they swept his really dark depths under the rug. No mention of him raping a maiden or other unsettling things. Without that, he doesn't come off as a villain, rather as an aging man who is truly and utterly in love, almost a victim. And with Terry being so gorgeous, you just don't understand Dunya...
Peter Grimes (1981)
The ensemble is perfect... shoot the Tristan wannabe
It's a wonderful performance with every little role in the perfect hands - but Jon Vickers ruins it. He acts like a Tristan who got accidentally thrown to another universe and tops it with some Boris in the mad scene. Way to theatrical, grad opera-is, cliché. Overdone gestures and all the "OMG I'm SO DRAMATIC!!!!111!!one!" When will all these big bearlike scenery-chewers understand that Grimes is not a Heldentenor role? That it needs someone with a true English voice and great psychological acting style? Even Brian Blessed would say Vickers to stop the overacting.
And I actually like Vickers otherwise. He's great in Wagner roles, but this one is just no. Too violent, no subtlety. It's hard to feel sorry for him.
Go watch the ENO DVD - Langridge moved me to tears.
The Turn of the Screw (2009)
Era change killed it
I hated the 20's costumes, this just NEEDS the fancy Victorian clothing! Also, automobiles? Stupid frame story? And using Voice Of The Legion, one of the worst horror tropes? No match to The Innocents - that was perfectly creepy and beautiful (Miles could have been prettier, but otherwise everything as it should be).
Here? Meh. Adding random new characters was unnecessary.
Music - can't even recall it. Go for the opera if you want the REAL music of this, also, Britten understood a lot more than this movie's director. It was not just about *possessing* children. It was more, at least in the case of Quint/Miles.
Great Performances: Don Giovanni Unmasked (2001)
Duplicated Beauty
As stated above, this is for the Hvorostovsky fans and those already familiar with the opera. The idea of making Don G and Leporello Doppelgängers is great. As the plot goes forth, it becomes more and more clear they are not even Doppelgängers, they are one as Jekyll and Hyde. And the Commendatore, with his Nazgul-like ghostly companions, knows this too well. Oops, Leporello. Being Don G is one thing, paying the fiery price is another...
Very good singers in general, although I'd have preferred a Commendatore with a bigger voice.
But anyway, Hvorostovsky shines in his angelic beauty. Maybe too angelic for the Don. I prefer Gilfry's demonic predator or Keenlyside's wicked charmer. Dima lacks the depravity that makes the Don worth for hellfire. He's beautiful and hot, but somehow innocent. (By the way, the other two are also perfect when it comes to Innocence Incarnate, the polar opposite of the Don, Billy. Dima never sang him. A pity, he'd be so perfect.)
Definitely worth watching if you can get it.
Billy Budd (1988)
As near to perfection as you can get
Yes, there are some minor flaws. The set is too minimalistic, especially for the cabin scene. You can't get away without a huge desk, and they try. And Thomas Allen is not young enough, and was never pretty enough for the role, but when it comes to singing, he owns the role so that prettyboy Nathan Gunn should kneel before him and ask him "Teach me!"
But the true tragic hero is Vere, and Philip Langridge is simply perfect. (I could totally kick the costume designer for dressing him like a retired teacher in the prologue/epilogue, but in the flashback part he's really hot in his uniform.) His voice is exactly what you need for Britten, lyrical but with enough strength for the big dramatic outbursts and with a golden tone. And he looks the part - aristocratic, slim, elegant, he doesn't have to work for the "true leader" image, he has it by default. Plus he's hot - damn, he's still hot, even now at 70. He was around 48 in the film, and could easily look 40 as the character is. The real tragedy is his - he must execute Billy whom he know to be innocent in the eyes of God, but justice and law is not the same thing.
And we have a worthy opponent, the late Richard Van Allan, who possesses such a dark and cold aura, and such a black voice that you can immediately recognize he was born evil. He looks like a mix of Moff Tarkin and a younger Christopher Lee, pale and vampiric in all black. And he has a certain noble bearing - pride, strictness, and pure malevolence. This man rules through fear, not through force. Wish he had sing Hagen... but he never did.
And what makes the performance unique is the perfect supporting cast. Like in Grimes, you must have a dozen of good comprimarios; here you have them. Special hail for Redburn (the only one so far who seemed a true naval officer and not an opera singer), Squeak (so ratlike that Wormtail would be jealous), Dansker (good ol' sea-dog with a really warm voice) and Novice (beautiful lyric tenor and true anguish), but they're all wonderfully sung, and the chorus is tremendous too.
So highly recommended.
Billy Budd (1962)
Why is it so underrated?
It's not a well-known movie, but people, this is a true masterpiece. It's almost like an European art movie, there's nothing Hollywood in it. Ustinov is a sensitive director who respects and remains true to the book (a rarity). A good idea it was made in B&W, for it makes the whole thing extremely beautiful. Hail to the photographer. And a perfect cast. Ustinov, although better known for his great comic roles, is a serious, noble, sympathetic Captain Vere. Okay, he's not as attractive as Philip Langridge (who played the role in the '88 filmed stage version), but he's credible. For Billy, the incredibly young, angelic, nice, innocent Terence Stamp was a perfect choice. He looks exactly like Melville described the character, and he's truly good and lovable without being a Mary-Sue. Maybe the only "extra" is that although naive, he has some kind of wisdom: he understands Claggart and tries to befriend him. And for the master-at-arms, Robert Ryan (who was so sympathetic and tormented in The Wild Bunch) is Evil incarnate. Not your overplayed bad guy, but a silent, smiling sadist. His death scene is one of the most frightening things I've ever seen: the dies SMILING, as if he knew he has won, and that Billy would die for this, too. One must think Claggart actually WANTED to be killed. He tempts fate again and again till he gets what he deserves. Not many movies are there what made me cry, but this one did. There's much more in it than a symbolic fight between Good and Evil. Billy might be an angel, and Claggart might be a lovechild of Iago, but the actors make them human. The tragedy is that there was the possibility of loving each other. Billy had offered it, and Claggart almost fell for good, but he couldn't deny his natural depravity. As for the homoerotic undertones: yes, they are there. Especially in Ryan's Claggart. His hate is mostly an oppressed lust.
So it's a nearly-perfect movie, it really deserves more popularity. MJelville is so under-adapted! Only two versions exist for Moby Dick, and BB wasn't filmed again (at least not for cinemas) since this film.
Julius Caesar (1953)
Best adaptation
I saw the 1970 movie and the 1979 BBC version, too, but this one is way better.
First of all: a perfect Brutus. James Mason was not a big star, but a fine actor, and here he is noble, majestic, emotional, and also very hot. I always imagined Brutus as a good-looking, manly, dark-haired, dark-eyed type, and he fits my ideal perfectly. He is really a man, a serious, brave, doomed hero. He can't escape his destiny, but his fall is also the death of the Roman Republic. I always weep at his death scene. It's so sad and yet so peaceful. :'( Second, a wonderful Cassius. John Gielgud is one of the greatest Shakespeare actors ever, and he knows everything about his world, about the role, and about true acting. I don't like when Cassius is portrayed like a mediocre man who only wants to kill Caesar out of envy. No, I think he's really afraid for the Republic, and he's a true Roman character. When he says he'd rather die than live as a slave, he means it. And Gielgud's Cassius means it, truly; he's not just an emo.
Oh, and note the chemistry between Brutus and Cassius. It's so filled with subtext.
Third: the most amazing Antony ever! At least, this play's Antony. The aging Antony from the sequel is just not the same man - here he's a kind of Odysseus, a true mischief-maker, and a brilliant orator. I loved Brando in Godfather, but didn't know he was THIS hot when he was young. Plus he could talk like this.
Yes, Caesar is a problem. The role isn't big, but, in my opinion, it needs a great actor who can make his justice. Caesar shall be a real threat, not just an old B-list actor.
The girls... well, they're all right.
For the lesser roles: Edmond O'Brien, aka Sykes from the Wild Bunch makes an excellent Casca. Oh, how I love when I find random Peckinpah actors in other movies.
Also: what a great Caesar-killing! The way JHames Mason closes his eyes before he stabs is fantastic. It shows how he feels sad and lost, but he does his duty.
Les misérables (1982)
Dark and beautiful
Maybe the darkest and most artistic version. Very sad, very heartbreaking. It is book-faithful as possible, and has a wonderful cinematography. It has a lot of adorable little Brick moments.
Lino Ventura's Valjean is the only one who rivals Jean Gabin's. He's a very good choice for this role. A real actor, not a star. And I cried for him. The end is even more sad than in the book. He dies totally alone, in a ghost-house. The last scene evokes the first - but this time Javert says: "You are free now." (Or something like it, my French is limited.)
Javert is also great. The only thing I miss is the sideburns, but the actor has his personality. He's cold, always calm, always honest. Not your usual "bad guy" interpretation. No, Javert was not a bad guy. His end proves it. (Besides, it was beautifully directed - you see him write the letter and then you only see his hat, his coat and his nightstick at the parapet...)
Thénardier is okay, but he doesn't seem really evil, just misfortunated. Mme Thénardier is book-like, and yay! she dies in jail, and Éponine steals the crucifix from her hand. (Brilliant little scene.) Cosette is so... well... cold. Like she had no feeling. It's not a surprise such a girl forgets Valjean... Marius is quite okay, at least he isn't ugly, but his hair is totally '60s. Enjolras has an EARRING(!) and is black-haired, but pretty. Courfeyrac is win. Combeferre has red beard and glasses, and looks like my ideal Colline (from Puccini's La Bohéme). Grantaire exists, drinks, and dies together with the others. Gavroche is perfect, and sings Little People! in French. Really! Éponine is ugly and miserable, isn't emo, and is pretty book-like. Azelma... exists. Fantine has dark hair, but otherwise she's OK, her transformation is quick, but artfully done. Nuns are OK. Fauchelevent too. (No graveyard scene, however.)
Maybe the most beautiful scene is the first attack. It's a long, silent scene in slow-motion, with a sad music. It seems Peter Jackson stole a LOT from this...
Hossein is a great director. This is the only Les Mis version that is actually an art movie, not just an adaptation.
Absolutely worth watching, but beware, very, very depressing.
Der fliegende Holländer (1975)
Sexiest Holländer ever
The film maybe old and studio-made, sometimes with bad lip sync, but McIntyre's Holländer shines. His voice is gorgeous (see also the Chéreau Ring), and he's incredibly beautiful, hot and young here. You can totally understand Senta. Erik? Just a boring tenor. The music... well, weird. Great Wagnerian moments and also Italian-like schemes. He searches his voice, and sometimes he finds it, but this is not his best opera. Beautiful, but not Tristan or the Ring. Sung well, it works really good.
McIntyre makes the Holländer not a cold undead, he plays a suffering, desperate man, whose only wish is to find salvation - that means, to die at last. And Senta gives him this salvation. Wonderful closing scene, the girl springs into the sea, swims to him and they embrace each other as the ship sinks.
The singers are all good, although Senta seems to me a lyric soprano, not a real Wagner-heroine. But in movie, it goes. On stage it wouldn't work.
Daland is not a Salminen type basso profondo, but he works. And we have a young Steuermann with a beautiful voice.
Also, if you want a HOT Holländer, get this. McIntyre always plays humanly, tragic characters. His Wotan is not a king, not a God - just an unhappy, lonely man.
Great Performances: Les Misérables in Concert (1995)
The Perfection
This is just perfec. A wonderful cast, and they even play before the microphones.
My two favorites are Lea Salonga and Philip Quast. They almost steal the show, but in this show, everybody is great.
Quast - oh my, I never knew before that Javert can be THAT hot and that - humanly. He's so cool. I fell in love with the Inspector, what I never did when reading the book or watching a movie. I cried on his death scene.
Lea is just so sweet. And her voice is percfect. Eh, Marius is either blind or deaf... or both.
Der Ring des Nibelungen (1980)
Perhaps the greatest Ring ever
I absolutely loved Chéreau's direction. It was my first whole Ring (former I've listened it only and seen Die Walküre sometimes). It is a very humanly performation. The characters are lovable and believable. Never seen the Wälsungs so hot, Brünnhilde so slim and nice, Wotan so human. The singers are almost all great, especially McIntyre, Jones, Hoffmann, Altmeyer, Zednik. Zednik is a genius! There are only a few problems. 1. Siegfried. Sings well, but doesn't look a young hero. 2. Hagen. Why oh WHY Hübner and not Salminen? (Salminen sings Fasolt/Hunding.) Hübner makes a solid Fafner, but his Hagen isn't important enough. Hagen must be evil incarnate and a sad, cursed man, with a tremendous, black voice. Salminen would be better. Hübner is too gray. 3. Grane. Grane doesn't exists.
But the whole performance is so great that it deserves ten stars. McIntyre, Jones and Zednik are almost stealing the show.
Il trovatore (1978)
Dream performance
Perfect. Only two little things what I didn't like: Karajan's shortcuts (for example Leonora's cabaletta in act IV), and the chorus - typical Vienna citizens, they doesn't seem to be gypsies or soldiers.
All other things are great.
Fiorenza Cossotto almost steals the show. Her voice is beautiful and her performance is awesome. Domingo - an ideal voice and an ideal man for this. Forget Pavarotti, he was ridiculous on-stage. Domingo is a real tenore drammatico and very handsome. The first Manrico I ever believed he's the soprano's dream. Raina Kabaivanska - gorgeous voice, nice, slim, young woman. That's how Leonora should be. And Karajan stole her cabaletta. Yealous old villain. :D Piero Cappuccilli was "the" Verdi baritone in this time, he sang always beautiful and knew all about the soul of Verdi's characters. José van Dam is a great singer, even in a smaller role. And men! Heinz Zednik as Ruiz! The best Mime ever in a two-lines-part! Almost too much! :D
Don Carlos (1996)
A great revelation
I have heard Don Carlos many times, but always in Italian. I have a five acts version with Domingo, Milnes, Caballé etc.
This "elder" version is very rare and it was very interesting. A great performance with terrific singers.
Alagna is an ideal "lirico spinto" tenor. This role needs a spinto, like Cavaradossi or Riccardo. And he is handsome, too. Not a fat old man like the typical "old time" tenors. We need this type.
Karita Mattila is a superb Elisabeth, José van Dam is a very intelligent and well-done Philip. Okay, he's not a "son-of-nature" bass like Ghiaurov or Salminen, but he acts well and knows how to use his voice. In fact he's better a bass-baritone.
Thomas Hampson has a beautiful voice and he's a noble, young, idealistic Posa. Only his wig is terrible. :D Waltraud Meier, better known as Sieglinde or Kundry, is one of the best Ebolis I've seen. She's a Hochdramatishe Sopran and not the temperamental, wild Mezzo, but she does a fantastic performance.
Eric Halfvarson is simply awesome. This young bass was the most frightening Inquisitor ever, and terrific as the blind, old fanatic. We Hungarians had a great Inquisitor before the War, János Fodor; Halfvarson is a great rival of his memory.
I would like to see one day a Don Carlos with Salminen as Philip and Halfvarson as the Grand Inquisitor. That would be a tremendous bass duel! The two best Wagner basses against each other.