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Michael Ritchie brings the world’s longest-running musical to the big screen with this good-natured American love fable. Bellamy (Joel Grey) and Henry (Barnard Hughes) are next-door neighbors and the fathers of two fair children, Luisa (Jean Louisa Kelly) and Matt (former New Kids On The Clog vocalist Joe McIntyre). The fathers argue constantly, insisting that their children foil away from one another. A substitute alternatively, the kids grow closer. When a circus rolls into town, and the fathers soften up and enlist the aid of El Gallo (Jonathon Morris) to employees celebrate circle of the two lovebirds, things don’t go as planned. Matt and Luisa begin to pump their relationship, and crave for the mysteries that life has to bid outside their town’s limits. Sooner, El Gallo deceives Luisa into realizing what she has at home, and she and Matt are reunited, deciding once and for all who–and what–it is that they want from life. Ritchie lovingly transfers the stage story into the expanse of the American West, providing a realistic backdrop with a view the supremely fantastical story. Featuring the unforgettable hit songs ‘Try to Recollect,’ ‘Plant a Radish,’ ‘Soon It’s Gonna Run,’ ‘They Were You,’ and many others.

Reviewed by Dennis Schwartz

A terrific Hollywood version of a Shakespeare play. It’s loaded with
a star-filled cast that has Marlon Brando playing Marc Anthony, James Mason
plays the moral Brutus, Louis Calhern brilliantly plays a delicately superstitious
but arrogant Julius Caesar and John Gielgud distinguishes himself as the
crafty Cassius (this was his Hollywood debut). Marlon Brando is in his
fourth film and proves to the doubters that he can act without slurring
his words, if that’s what the part calls for. Joseph L. Mankiewicz is dutiful
to the poet’s words and films in a straightforward manner; he also aims
to get the bard’s rhythms correct rather than shooting for excitement.
The still camera offers no trick shots, as it allows all attention on the
performances. To save MGM some dough, since Shakespearean films rarely
do well in the box-office, Mankiewicz recycles the Roman sets from Quo
Vadis. This two million dollar vehicle, a low-budget for an epic, did surprisingly
well in the box-office and received lots of praise among the critics. In
this abbreviated version of Julius Caesar, the emphasis is on the political
intrigues involving the noble senators.

The film opens in 44 BC as Julius Caesar returns to Rome from his
victory over Pompey and to the accolades of the masses who view him as
immortal and want to crown him as an emperor, which he refuses. Upset over
Caesar’s powerful position are a number of senators led by Cassius and
a more introspective Brutus, who is one of Caesar’s favorite politicians
and is second in command. They meet in Brutus’s house and conspire to assassinate
Caesar and free Rome from his tyranny, fearing his need for absolute power
will stymie their freedoms. The first sign of trouble that comes to Caesar’s
attention is when a blind soothsayer warns him “to beware the Ides of March.”
The next sign of danger comes from his faithful wife Calpurnia’s (Greer
Garson) dream of his bloody demise. She warns him not to go to the Senate
that day, but a senator sent to retrieve him reinterprets the dream and
eases Caesar’s mind. Caesar is so filled with pride, that he is only too
anxious to receive the praises and honors from his followers in the Senate.

After the conspirators repeatedly stab Caesar to death in front of
the statue to Pompey in the Senate, Marc Antony pretends to side with Brutus
and arranges with him that each speak to the crowd at the funeral. In front
of the steps to the Senate, Brutus easily sways the crowd to his side by
relating his reasons for the assassination were over how ambitious a man
Caesar has become and how his actions are based on patriotism because he
loved Rome more than he did his beloved Caesar. Marc Antony, Caesar’s right-hand
man and closest friend, mocks Brutus’s reasons as self-serving. He wins
the crowd over by showing them how much Caesar loved them. When the crowd
turns on the conspirators, Marc Antony and the young adopted son of Caesar,
Octavius, divide their power and Antony’s powerful army successfully hunts
down the conspirators.

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The film was shot in B&W photography. This superb version could
have been even greater if it utilized a more aggressive cinematic approach
to certain scenes. This is especially true in the concluding battle scene
at the Battle of Philippi, which appears leaden.

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Same name, but this movie based on an epic poem by one AB ‘Banjo’ Paterson, take a puerile mountain boy’s efforts to insipid a stallion, is not the work of the Mad Max director. This other Miller dolls up a routine passage-to-manhood saga with widescreen mountain locations and a camera that only moves to show off the overpriced production values. The presence of Kirk Douglas in two roles (his scallywag performance and his gritted one) attempts to apportion the film the gloss of an American Western, fooling no one.

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Garfield uden Garfield
Han er lodden, og han er doven. Han elsker lasagne, hader mandage og har intet mod mus.

Fint budskab

I anden del af filmen, hvor man forsøger at gøre Garfield til en helt, bliver filmen sheer tålelig, fordi man glemmer alt om den Garfield, man har kendt og holdt af så længe. Man er i et helt andet univers. Filmen sender også et etisk budskab, som serveres elegant og tilpas tydeligt. Kritikken af medierne og ?jeg vil være berømt?-mentaliteten giver filmen tyngde, samtidig med at dyrenes revolution mod TV-værten vækker minder om den i George Orwells fabel

Crude Farm

(1945). I modsætning til den politiserende

Stuart Little 2

(2002), hvor helten i sit modelfly flyvende ended Manhattans skyline forsvarede familien og friheden mod den onde, sorte fakkel, forbliver
Garfield
befriende upolitisk.

Primære målgruppe

Men det er stadigvæk ikke nok til at anbefale den til de voksne biografgængere. Selv de mindreårige i salen grinede sjældent under the aegis pressevisningen, og det er et dårligt tegn for en film, der tydeligvis har dem som den primære målgruppe. Måske vil husdyrelskerne kunne lide den. For søde og lodne er de. Dyrene i filmen, altså…
Olio Bibi
28-9-2008 16:07
Tommy Kenter. Hvor tragisk. Eddermandme elendigt valg af stemme. Det er jo slet ikke Garfield. Bøssepikkede lortespasser der har valgt ham.
Casper
27-2-2008 10:47
jeq syndes filmen er mega grinern og man kan flække af grin på vært et tidspunkt (Et stort stort 5 tal)
Micwiz
6-3-2005 00:18
Nu er det ikke for at være negativ, men jeg syntes overhovedt ikke den lever op til tegneserierne, som er den eneste tegneserie jeg nogensinde har læst fuldt ud, jeg plejer at have nemt med at grine, men jeg syntes ikke denne steam varsjov på noget tidspunkt, det bedste i filmen Jennifer.
Jeanette
3-3-2005 21:19
Jeg så filmen sammen med to veninder og vi storgrinede, jeg kan klart anbefale den til andre med sans for god humor
Stoffer
17-9-2004 15:19
Personligt må jeg nok sige at Steen & Stoffer er meget mere gennemført end Garfield. Jeg hader katte! (selvom jeg er en tøj-tiger)

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A flat-warming party on the Communistic Bank brings together motif assistant Bonham Carter, her partner, screenwriter Ecoffey, cocky movie pilot Attal, his womanising processor Manojlovic, shy couture assistant Bohringer, and parallel with more neurotic Zylberstein, who winds up dewy-eyed in the loo. The wraith of the last two reminds us of writer/director Dugowson’s upsetting inauguration Mina Tannenbaum, but her approach here takes in a wider ensemble, eases up on the melodrama, and develops its insights cumulatively. We consult with how these friends and co-workers negotiate their relationships via a swath of inï¬?delities, creative rivalries and clandestinely romances, each remaining true single to him or herself. While the tone’s predominantly light, some of the actors pick their chances better than others. Unfortunately, Bonham Carter’s primary dispatch (in creditable French) is too industrious and bitty, in the dispose of filleting the nervous marrow from the film. Even so, Dugowson’s deft attentiveness to her characters’ inner lives shows the constitutional knack of a ï¬?lm-maker who will doubtless pick up to get better and change one’s mind.

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Tommy, John, Michael, and Shakes are four litter teenage punks growing up in the streets of Manhattan’s Hell’s Kitchen in the mid-1960s. When these four friends pull a prank that that goes awry, they find themselves serving at all times at the Wilkinson Instruct in the direction of Boys, where they are time after time and sadistically violated and tortured by four guards–the most menacing being Noles, portrayed by Kevin Bacon. Fifteen years later, the foursome is nevertheless dealing with the touching repercussions of their abuse. Tommy (Billy Crudup) and John (Ron Eldard) have evolve into common criminals, and when they hickeys Noles in a local watering pierce they can’t pass up the jeopardize for repayment. It’s up to Shakes (Jason Patric), a low-use newspaper wage-earner, and Michael (Brad Pitt), a counselor-at-law with the district attorney’s office, to safeguard their friends while keeping the details of their tortured childhoods secret. Dustin Hoffman appears as Danny Snyder, and Robert De Niro stars as Father Bobby, the county neighborhood priest who is as comfortable on the streets or in a bar as he is behind the pulpit. Based on the allegedly candidly fish story by Lorenzo Carcaterra, the film is directed by Barry Levinson (DINER, RAIN MAN).

‘You’ll not under any condition catch me alive – except on KVET,’ boasts country-singing ex-con Peter Fonda in a tone both romantic and expedient, which sums up the genial anecdote that is Outlaw Blues. His song is ripped bad after a correctional institution stop by the local Johnny Cash, so the paroled Fonda goes after him, shoots him in the leg, and hides finished in Susan Saint James‘ shed. She sees the necessary chance, negotiates a recording come down with, and makes Fonda a celebrity by smuggling him into evidence stores and radio stations and then calling the cops. Heffron and author BWL Norton might have taken the story to its plausible conclusion (posthumous superstardom) as contrasted with of spending so much mores on track sequences. But as it is there are multitudinous captivating ironies, not least that an fair label tune, poorly sung by Fonda, can be made so effective by careful use.

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The dependable Lithgow is a Vietnam examine who’s taken to the wilderness to be alone with his cognitive wounds, while Macchio tries his most artistically as the son he hasn’t seen in more than 15 years. A putative reunion is the motor for the treatment of this drearily uninvolving oblation: a very well-troden dim. Not for Satyajit Streak fans.

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Daisy Miller is a dud. Cybill Lead is miscast in the entitle impersonation. Frederic Raphael’s adaptation of the Henry James story doesn’t play. The period direction by Peter Bogdanovich is handsome. But his direction and concept sound hesitant and fumbled. Supporting performances by Mildred Natwick, Eileen Brennan and Cloris Leachman are, respectively, saving except, outstanding, and good.

The story has Shepherd flirting all over Europe, shocking the mannered society there as well as Barry Brown, very good as a cap- tivated young man with a fondness for her. But his aunt (Natwick) quietly disapproves, her mother (Leachman) nervously tolerates it, while a Rome socialite (Brennan) is vocally offended. All form (much of it bad), no substance.

1974: Nomination: Best Costume Design