Melodrama

The World of Suzie Wong

A prim young Chinese woman on the Kowloon ferry accuses a middle-aged American of stealing her purse--thus begins a culture-clash romance. Seeking to escape his stifled life, Robert (William Holden, Stalag 17, Sunset Boulevard) has come to Hong Kong to become an artist. He rediscovers the girl from the ferry and learns she is not what she seemed; she's a prostitute named Suzie Wong (Nancy Kwan, Flower Drum Song). Though Robert resists her charms, she becomes his model, and their relationship grows surprisingly complex. While The World of Suzie Wong can be patronizing and has some dubious interpretations of Chinese manners and mores, it's also sophisticated (in a censored sort of way) about love, sex, and social pressure. A viewer may scoff at the child-like hookers, yet find the movie accumulates an unexpected emotional force, particularly through its exploration of how the characters maintain their illusions. --Bret Fetzer

Jane Eyre

Franco Zeffirelli (Romeo and Juliet) and screenwriter Hugh Whitemore strip away a bit of the familiar romanticism of Charlotte Brontë's novel and come up with a more plain but somehow quite interesting film adaptation. Charlotte Gainsbourg (The Cement Garden) makes for an oddly appealing but deliberately unlovely version of Jane (previous actresses have included Susannah York and Joan Fontaine), and William Hurt is excellent as an equally revised Rochester, brusque and self-involved but not the totem of torment and charisma we've seen before. The story clings to the usual chapters in the book, but with Zeffirelli shaping the principal characters to reflect their cautious perceptions of one another--rather than to a Hollywood notion of grand passion--the film has a wonderful accessibility. Great support from Joan Plowright, Billie Whitelaw, Anna Paquin, and the rest of the cast. --Tom Keogh

Academy Award(R)-winner William Hurt (1985 Best Actor -- KISS OF THE SPIDER WOMAN; SMOKE) leads an all-star cast in this story of passion and intrigue! Jane Eyre (Charlotte Gainsbourg) is a young woman whose will to overcome a life of hardship leads her into a passionate romance with a handsome -- and mysterious -- gentleman (Hurt). Swept up in the possibility of a happy new life, Jane is shattered when terrible, untold secrets from his past are revealed, threatening to tear her and her lover apart forever! Also featuring the talents of Anna Paquin (THE PIANO), Joan Plowright (ENCHANTED APRIL), and sexy Elle MacPherson (SIRENS), this enduring tale has captivated moviegoers everywhere, just as Charlotte Bronte's classic best-seller has entertained for generations!

The Lover

Lovely to look at, this story reveals little more than the characters' nude bodies. Like couples whose only attraction is physical, this has little to offer once it leaves the bedroom. We never learn the interests or inner workings of the lovers in question. They become nothing more than attractive bodies, which makes this little more than a shallow exercise in sexuality. The story is based on the controversial, and supposedly autobiographical, bestseller by experimental French novelist Marguerite Duras. It tells the story of a young French schoolgirl who becomes sexually involved with a sophisticated, older Asian man. Set in Indochina in the late 1920s, this is stunningly photographed and artfully directed by Jean-Jacques Annaud. That said, the lack of a more satisfying plot means this is merely tastefully produced soft porn. --Rochelle O'Gorman

From the novel of the same namewhich has sold over one million copies in 43 languagesthis "sophisticated adaptation of Marguerite Duras' best-selling memoirs" (Variety) smolders on the screen. "Masterfully acted and beautifully photographed" (Critics' Choice), The Lover brilliantly captures the essence of sexual awakening and forbidden desire like no other film has donebeforeor since. Jane March is mesmerizing in the role of a poor French teenager who engages in an illicit affair with a wealthy Chinese heir (Tony Leung) in 1920s Saigon. For the first time in her young life she has control, and she wields it deftly over her besotted lover throughout a series of clandestine meetings and torrid encounters. But though the lovers are able to transcend their differences in age, race and class'theirs is a future that French colonial Vietnamese society will never allow.

Kama Sutra: A Tale of Love

If you're looking for a deep, intelligently romantic movie with complex characters and a richly rewarding plot, don't bother with Kama Sutra: A Tale of Love. On the other hand, if you're feeling sexy and in the mood for a lush, seductive, and visually stunning film set in 16th-century India, this one will please you like the best foreplay you've ever experienced. Or it will relax you like a full treatment at a pampering spa--either way, you're gonna feel pretty fantastic. Okay, okay... maybe we're getting a little carried away, but there's no denying that director Mira Nair (best known for her acclaimed film Salaam Bombay!) has crafted a sumptuous film for the eyes if not the head. Its melodramatic plot is involving enough to elevate the movie high above soft-core adult fare, so you won't feel guilty after watching it.

Kama Sutra is the story of a young woman named Maya (the stunning Indira Varma) who has always been lower on the social scale than her well-born friend Tara (Sarita Choudhury), and has always lived in Tara's shadow, wearing her used clothes and being made to feel inferior. When Tara is betrothed to the handsome King Raj Singh (Naveen Andrews, from The English Patient), Tara sneaks into the king's tent on the eve of the wedding and seduces him. Later, after being trained to master the Kama Sutra's many "lessons of love," Maya will be the king's courtesan, and emotions will run high between the former best friends. But the plot is of secondary importance here (a fact that resulted in many mixed reviews), and so Kama Sutra works best as a colorful and irresistibly sexy story that is worth seeing just for the startling beauty of the film and its cast. --Jeff Shannon

Suddenly, Last Summer

This black-and-white film adaptation of Tennessee Williams's Southern gothic play is perhaps more famous for the rumored off-screen shenanigans of its stars than for its over-the-top repressed sexuality (only Williams could pull off that paradox, and pull it off he does). Supposedly, stars Katharine Hepburn and Elizabeth Taylor battled for screen time; Hepburn warred very publicly with director Joseph Mankiewicz; and a postaccident Montgomery Clift relied heavily on painkillers and support from friend Taylor during the grueling shoot. Even this, however, cannot top the events of the film itself, revolving around the unseen playboy Sebastian and his mysterious death, which has something to do with young boys, a decadent European vacation, and Taylor in a provocative wet, white bathing suit. To give away the plot would spoil the fun, but suffice it to say that what Taylor saw was so horrible it drove her nuts, and Sebastian's mother (Hepburn) wants her to have a lobotomy in order to keep it from coming out; Clift is brought in to do the procedure. It's all a hoot and a holler, but as played by the two leading ladies (both of whom nabbed Oscar nominations), it's also compelling, chilling, and utterly gothic. Taylor gives a fierce performance, as the climaxing monologue that reveals Sebastian's "secret" rests entirely on her shoulders, and Hepburn plays brilliantly against type as Sebastian's manipulating, overbearing mother. Only Clift, saddled with a dreary character in charge of plot exposition, fails to deliver. Adapted by Gore Vidal. --Mark Englehart

A young woman is driven insane after witnessing her cousin's murder by cannibals. The neurosurgeon who tries to help her must also confront her aunt about her involvment in the death.
Genre: Feature Film-Drama
Rating: UN
Release Date: 15-AUG-2000
Media Type: DVD

The Bicycle Thief

Vittorio De Sica's remarkable 1947 drama of desperation and survival in Italy's devastating post-war depression earned a special Oscar for its affecting power. Shot in the streets and alleys of Rome, De Sica uses the real-life environment of contemporary life to frame his moving drama of a desperate father whose new job delivering cinema posters is threatened when a street thief steals his bicycle. Too poor to buy another, he and his son take to the streets in an impossible search for his bike. Cast with nonactors and filled with the real street life of Rome, this landmark film helped define the Italian neorealist approach with its mix of real life details, poetic imagery, and warm sentimentality. De Sica uses the wandering pair to witness the lives of everyday folks, but ultimately he paints a quiet, poignant portrait of father and son, played by nonprofessionals Lamberto Maggiorani and Enzo Staiola, whose understated performances carry the heart of the film. De Sica and scenarist Cesare Zavattini also collaborated on Shoeshine, Miracle in Milan, and Umberto D, all classics in the neorealist vein, but none of which approach the simple poetry and quiet power achieved in The Bicycle Thief. --Sean Axmaker

A beautiful, simple story of a man in post-war Rome who needs his bicycle in order to work at his job. No sooner does he retrieve it from pawn, then it is stolen. The heartwrenching search teaches the man and his son much about the meaning of life and just how far we will go when pushed to the edge. Winner of a special Academy Award.

The Umbrellas of Cherbourg

Jacques Demy's haunting romantic musical is an enchanting, one-of-a-kind musical experience. It's basically a movie operetta, in which the characters sing all the dialogue (or, rather, lyrics--by director Demy) to Michel Legrand's lovely score. The story spans five years (1957-1962) in the life of Geneviéve (the ethereally beautiful Catherine Deneuve in the role that launched her to international stardom), the teenage daughter of a woman who owns a Cherbourg umbrella shop. After Geneviéve's boyfriend Guy (Nino Castelnuovo) is drafted and sent off to Algeria, she discovers she's pregnant ... and complications ensue. With its dazzling candy-colored palette, Umbrellas of Cherbourg looks sweet and dreamy. Restored and rereleased in 1995 to rapturous acclaim and the renewed delight of all who got the chance to see it. The video release is taken from the restored version. --Jim Emerson

The Man Who Cried

Fans of the testudinate pace and art-house vibe of writer-director Sally Potter's other works (Orlando, The Tango Lesson) will likely enjoy The Man Who Cried. Fegele (Christina Ricci) is a Russian Jew separated from her father as a child. Raised as "Susie" by an English family, she makes her way to Paris, where although the city's multiculturalism is vibrant, the Nazis are already on the rise and the secret of her origin becomes increasingly dangerous. The cast of The Man Who Cried is excellent; Cate Blanchett, Johnny Depp, John Turturro, and Harry Dean Stanton all do fine jobs in what could have easily degenerated into an accentfest. Depp and Ricci do very well with minimal dialogue--both go through the entire movie almost without speaking. The film moves at a leisurely pace and is beautifully shot. Not a film to show to a roomful of action movie fans, but it's well suited to people who like their films a little more European in flavor. --Ali Davis

Duel in the Sun

Legendary producer David O. Selznick dreamed of another magnum opus like his 1939 production of Gone with the Wind; he also purposed to make Jennifer Jones, his ladylove and eventually second Mrs. Selznick, a megastar. Accordingly, he micromanaged the making of Duel in the Sun (Lust in the Dust to some), an extravagant Technicolor epic about the collision of the old West with the new, wide-open spaces with railroads and barbed wire, and hot-blooded outlaws with civilized folk, often wimpy or unwell. Beginning among giant rocks drenched in a blood-red sunset, with velvet-voiced Orson Welles intoning the leibestod legend of doomed Pearl Chavez and her demon lover, Duel never strays far from lush romanticism, spiced with a dash of S/M. Orphaned Pearl (Jones) comes to live at Spanish Bit Ranch, where frail Laura Belle McCanles (Lillian Gish) tries to make a lady of her, despite her questionable origins and insistent voluptuousness. Sexual license versus law--Pearl's choices--are symbolized by the McCanles brothers: dark, undisciplined Lewt (a lubriciously wicked Gregory Peck) and reasonable, forward-looking, repressed Jesse (Joseph Cotten). The cast is huge (Lionel Barrymore, Walter Huston, Harry Carey, Herbert Marshall, Charles Bickford, Butterfly McQueen) and there are unforgettable set pieces: summoned by a cacophony of bells, the gathering of McCanles cowboys from the four corners of the earth; Pearl in heat, clutching Lewt's leg and being dragged across the floor as he makes his getaway to Mexico; and the lovers' final shootout among those red rocks, as orgiastic a finale as you could ask for. --Kathleen Murphy

From the acclaimed producer of Gone With the Wind comes a torrid tale of passion and romance that s loaded with all the sweep and panache of a giant American action movie (The New Yorker)! Flawlessly cast (The Film Daily) with a bevy of film legends including Jennifer Jones Gregory Peck Joseph Cotten Lionel Barrymore and Lillian Gish this salacious saga is virtually impossible not to love (The Hollywood Reporter)!When her father is hanged for murdering his wife the stunning beauty Pearl (Jones) is taken in by a wealthy Texan his wife and their two grown sons (Peck and Cotten). But Pearl soon becomes trapped in an emotional tug-of-war between her love for one son and her lust for the other igniting the most tempestuous triangle the West has ever seen!System Requirements: Running Time 146 MinFormat: DVD MOVIE Genre: WESTERN/MISC. Rating: NR UPC: 027616905741 Manufacturer No: 1006373

Goodbye, Mr. Chips

One more terrific film from a terrific year for movies--1939, the year of Gone with the Wind, The Wizard of Oz, and Stagecoach, among others--Sam Wood's Goodbye Mr. Chips is a deeply stirring work starring Robert Donat as the old schoolmaster who looks back upon his life. Told mostly in flashbacks, the film wraps itself around a history of an older England as seen through the generations of boys who pass through Mr. Chips's classroom. Greer Garson is her usual classy, sexy-intelligent self as Donat's wife, their earlier courtship one of the film's highlights. Get out the Kleenex for this one. --Tom Keogh