Costumes Movie Reviews

George Lopez needs his own DVD. He is definitely the funniest of the 4 comedians. Cheech Marin shows he is definitely not a stand up comedian, although I love his movies. I fast forward and listen to George and Paul and always skip the first two comedians. This DVD needed Carlos Mencia to make it the Latin Kings of Comedy. I think George Lopez doesn't get along with Carlos, but I am not sure. It is worth the purchase to see George, some older material, but still funny!

This was a funny film, I like that they talk about the way hispanic are raised up by our moms and dads. The joke that I like more was the one about the way hispanic do not buy swim suits like other people, we just cut our pants into shorts.LOL
Must see this video.

AWESOME DVD A MUST FOR YOUR COLLECTION. DEEP DISCOUNT DVD HAS THE SAME DVD FOR 19.85 WITH FREE SHIPPING.

I think my title says it all. I like the authentic Japanese feel of the production, and the singing is mostly very good. But I consider this the weakest of the "Madama Butterfly" film versions, because I just don't like Yasuko Hayashi as Butterfly. Sure, she's actually Japanese, and her voice is near perfect for the role, but Butterfly is a role that requires good acting, and I think Hayashi falls short in that department. If you think Japaneseness (is that a real word?) is the most important thing in a "Madama Butterfly," get this one, but if you want a good dramatic performance with a convincing actress in the title role, I reccomend either the Ponnelle film with Mirella Freni, or the Mitterand film with Ying Huang.

Different people have different opinion. Even for the same opinion, they may have different justifications. I rather like this version, despite the fact that the part of Madama Butterfly is not the best one could expect. The reasons are:

1) we have an excellent team here and particularly the director/ costumes/sets. Right from the beginning, viewers are, visually at least transcended to another world. We have a Japanese house by the side of some paddi fields with two farmers in Japanese costumes separately tilting and plodding rather stoically in the typically Japanese way, with their heads lowered to make sure that they won't give the story away. In other scenes, the same approach is used with the faces of the pedestrians/pinic goers substantially covered by Japanese umbrellas-- and also note that even the way they moved about or gestured are all Japanese. And then the modern lighting effect is so artistically well employed. It's quite a sensation altogether.

2) talking about music, we have a first rate orchestra and chorus from Milan conducted by Lorin Maazel, one of the most celebrated conductors of our time. For the leading parts, they are all taken by not too familiar voices/faces, so that there isn't much cliche and so that the viewers can better concentrate on the drama itself. Needless to say, both the musica and singing are all marvelous including the part of Madama Butterfly herself. The orchestra under the baton of Maazel does compare favourably with Vienna Philharmonic under Karajan. So is the acting as a whole, save the part of Madama Butterfly which is in any event almost as good.

But some how the orchestra sounds as though it comes from a distant land, a bit too soft. But there's full support for the singing and for the conveyance of Puccini's music. I don't like the cover photo of Hayashi either. Fortunately or unfortuntely, it's not the typical sight of her part thoughout. Often she is in robes else wearing shawls or the like, we don't actually see the size of Madama Butterly which, according to the play is supposed to to be as "light as nothing". Other than these trivialities, it's a Puccini which is worth all your money and all your while.

It is very rare to find Asians participating in operas as primadonnas performed by western groups. In this video, conforming to the story itself, we saw 2 Asian faces, i.e. Yasuko Hayashi and Hak-Nam Kim as Cio-Cio San and Suzuki. They show brilliantly their due sophistication by the excellent singing and performance and give the opera a real exotic nuance of the tragical Japanese faithfulness of the woman in Madama Butterfly. We also enjoy the excellent singing of all the role-players and the divine music of Puccini, also the magnificent costumes and extra-ordinary simple background setting. This video will give opera lovers most enjoyment as to the performance and singing.

This is a good production of the opera but unfortunately the video quality is poor. Many of the R.M. Arts releases seem to have poor video quality and if I had know it was an R.M. Arts production I wouldn't have bought it.

This is the story of Cinderella with a different twist. A Step father vs a Stepmother. Don Magnifico played by Walter Berry and his two warring daughters/siblings Clorinda And Tisbe. A pair of bracelets rather than glass slippers. Finally, the Prince's tutor, Alidoro, posing as a beggar to whom Cinderella gives bread. Alidoro will become Ciderella's angel and advocate. No Fairy Godmother here. Dandini, the counterfeit Prince played by Gino Quilico is a pure delight, pulling of the deception in brilliant fashion. Francisco Araiza as the real Prince whom I have seen in other Opera's is of magnificent tenor voice along with superb acting. Ann Murray as Cinderella is incomparable, wow what a performance, convincing, heartfelt and purley delightfull in every respect. The themes of forgiveness and respect hit home. Certainly a Five Star rating at Amazon.Com, but a 10 out 10 for performance, visual scenery and the Vienna Philharmonic. Some of my favorite scenes were the Wine Cellar, the Coach ride and Dandi's interplay with Don Magnifico's daughters and much much more. Totally delightfull. A must for any collection. Sound Quality A1 Picture Qaulity- Clean and crisp

We are amazed that this delightful opera, although containing so much similarity to the tunes and music in The Barber of Seville, is not as wellknown and popular. We appreciate that the Vienna State Opera undertake to perform this opera, so that we can enjoy the enchanting music and the sparkling Belcanto which is Rossini's identity, sung and performed with such excellence and brilliancy by all the singers. Especially tenor Francisco Araiza, which I have seen in different operas, shows in here all his excellence by acting and singing so magnificent and beautifully, accomplishing the character he plays as The Prince. In overall this opera, although not as wellknown as The Barber of Sevilla, is not less enchanting and so delightful which give us so much enjoyment from the beginning to the end, particularly as it is performed with such excellence and beautiful singing and backed by such splendid scenery and colorful background.

Before you buy this, you should know that it is somewhat of a documentary. There aren't full recordings of Ruben Blades music. Rather, there are partial live recordings accompanied by following Blades and interviewing him about his feelings on Salsa and life in general--more specifically, his life. The interview starts at the Harvard Law School commencement exercise, continues on to Panama and back to S.O.B.'s--a famous New York night club. This takes place in the mid-nineteen-eighties.

It is a worthwhile production. If you want to know about Ruben Blades, or have been a fan for years, this is a very good DVD. As long as the price is reasonable, this DVD is a small piece of music history and should be purchased as so. If you're looking for a music DVD to put on at parties, forget it.

I've heard many things about Mr. Ruben Blades since I was a young girl and I never followed up on it until after his successes crossed over the Pacific/Atlantic waters and made way to the U.S.A. Now I see what all the talk is about! I was forewarned in the early 70's. What an intellectual Latino Mr. Ruben Blades is. This DVD is mine to keep as a treasure to me and my immediate family. There is so much to learn of an individual if only we just take our time and hear one out and even come in to their world and explore what that individual is exploring. Ruben's music is exciting as the definement of "Salsa". He is well-rounded and diverse. And best of all, RUBEN BLADES IS A HUMAN BEING WHO CARES FOR HUMAN BEINGS. **AB**

Excelente documental. Una autobiografía donde Rubén nos lleva por las rutas de su infancia a travez de relatos y entrevistas en diferentes sitios de Panamá y su apartamento en NY. Alterna con un concierto con Seis del solar, en algún bar, tocando sus mejores temas. La mayoria de ellos con comentario editorial del propio Blades. Excelente edición en "Todos vuelven" donde alternan imágenes de calles Panameñas. Incluye también una especie de "Making of" de "Silencios" con Linda Rodstandt. Fabuloso.

Aunque es ante todo, un documental para explicar a los americanos algo de la cultura latina y su música (Todas las entrevistas son en inglés), nos aporta mucho a quienes queremos tener una historia de Rubén bien contada o mejor, bien cantada.

Lewis Carroll's classic fantasy of wonder and weirdness, ALICE IN WONDERLAND, has long been a favorite subject of both playwrights and screenwriters to adapt. From the all star Paramount classic of the 30's with Cary Grant as the Mock Turtle to the wild colors of the Disney cartoon, this story has been very difficult for writers to get a solid handle on. Part of the reason is the mere episodic nature of the story, as Alice flits from one wacky character to the next. This version, based on a 1984 theatre revival, is only partly successful. The costumes and sets wonderfully recall the original illustrations of John Tenniel, and Kate Burton makes for a winsome and witty Alice. Unfortunately, some of the performances seem almost too laid-back for a show that should demand high energy. For example, Eve Arden's Queen of Hearts, instead of being overtly furious and bloodthirsty in her "Off with her head" tirades, comes across as merely slightly miffed!!! It also doesn't help that James Cocoa's King of Hearts has no personality whatsoever. Andre Gregory's Mad Hatter is likewise handicapped. However, there are some performances that do convey a better spirit of the story and inject life into this production. Geoffrey Holder makes for a regal and slightly sinister Cheshire Cat. A young Nathan Lane is a wonderfully skittish Mouse, while Fritz Weaver makes for a sage Caterpillar. Donald O'Conner soft-shoes his merry way as a light-footed Mock Turtle. Bookended with a back-story concerning an actress (Ms. Burton) getting ready for her first big production, this production is both literate and a treat for the eye. However, this production misses that vital spark of energy that keeps a merely good production from being a great one. However, if you love theatre, this one is worth your time.

I have studied Carroll, I have researched the 'Alice' stories, and I have even directed a successful production of the very same Eva LeGallienne script, and I was very excited to see this production available on DVD. I was hoping to see if a big budget could make sense of a theatrical script that doesn't really work. Please don't get me wrong...Ms. LeGallienne's script is by far the most true to the original stories. Ms. LeGallienne's script pulls out of the original stories only the most important characters and qualities, but the script itself still lacks the thread that creates one complete story, and unfortunately this production chops away even further by ommitting key transitional moments leaving only the major scenes.

Did I enjoy it? Absolutely! The design was gorgeous. The characters and the scenery seemed to have been lifted from the pages of Teniel's illustrations and brought to life. There were so many brilliant moments. Most notably the aloof and condescending Catepillar, the doughy-faced Dutchess, Stapleton's flighty White Queen, the academic snobbery of Humpty, and Lane's neurotic Mouse. I also have to add, I completely disagree with another reviewer's opinion of Arden's Queen of Hearts. I felt that her understated, and underplayed Queen was a brilliant choice. Remember, screaming does not an actor make. Her insincerity and aloofness is the perfect mirror image of Victorian royalty. And the insuated affair between the Knave and Queen of Hearts kept me laughing for hours! Bravo! I am also sorry to say that I was disappointed with Burton's Alice. She completely lacked the sensitivity and sensibilities of a 7 year old. She played Alice as an adult instead of Alice attempting to act as an adult.

Overall, I highly recommend this for anyone who loves 'Alice'. Despite the problems with the script, it is by far the most true adaptation of the stories, and one worth owning.

I remember watching this on PBS when I was a kid and I was so excited to see this on DVD. It's a great production with a great cast. I like that the play features both Alice in Wonderland AND Through the Looking Glass. As a Lewis Carroll fan I was happy to see how closely the play follows the books.

This is a must have for any brass enthusiasts, Hardenberger and Lindberg are among the world's finest trumpet and trombone players! The performance is absolutely first rate, nice tone and wonderful showcase of technique! The transcriptions of opera arias are quite successful too. Perhaps the title is a bit misleading so I think amazon should clearly label this DVD as a brass, not vocal, performance.

Read the program description BEFORE you purchase this product to avoid being disappointed with the content. OK, there is no singing on this program. But what you do have here are the best trumpet and trombone players before the public today. The performances are exceptional, and the program works well - it's enjoyable and tastefully done. It definitely deserves high marks. If you think you would be interested in a program of operatic transcriptions for brass, then this program is a joy.

This DVD is a real gem. Hardenberger and Lindberg give an excellent performance which showcases their fine technique and ability to control their instruments. Perhaps most importantly, they are able to convey their fine musicianship without the aid of the human voice. This is not an easy task when one considers that they are borrowing literature from the world of opera. Also, the setting of the art gallery in which the performance takes place is quite stunning. Bravo!

I'm still trying to answer the question, "does anybody in the
music industry have a clue as to how to mike a piano?" This
disk proves the answer is still no. The piano was so in the
background, it may as well have been behind the second cellos.
A number of times, you can see the pianist pressing keys, but
nothing is heard. Much of the complex tonal combinations used
in the piano line are simply not heard. Not only that, but
the camera on the pianist's hands had only a fixed view, and
that was blocked much of the time by the wood skirt at the end
of the keyboard. The orchestra was great, however, in all three
pieces, and the pianist is flamboyant and very talented. Too
bad the recording was so bad you couldn't really tell.

Given that most of the classical music DVDs out there feature sub-par performances of the standard classical warhorses, it's nice to see a DVD which features a high-level concert performance of exclusively 20th-century repertoire.

This is an overall solid performance of quite interesting orchestral music. Olli Mustonen's playing in the Prokofiev is a little too self-aware for my tastes (and his sound is shallow), but despite that, I still strongly recommend this disc.

Another botched up listing!

The major piece on this disc is Symphony No. 5 in E-flat Major, Opus 82 by Jean Sibelius, and it is not mentioned at all in the listing. My 5 star rating is for Sakari Oramo's overwhelming, brilliant conducting of the City of Birmingham Symphony Orchestra. He is a most worthy follower into Sir Simon Rattle's footsteps.

Not to belittle, or overlook, the exhilarated and ebuliant artistry of Olli Mustonen in the Prokofiev Concerto for Piano and Orchestra No. 3 in C, Opus 26, a new star on the horizon indeed.

In my opinion, the best version still remains Jose Ferrer's 1950 classic when he won an Oscar for best actor as Cyrano (a role he had already won a Tony award on stage), then comes the Derek Jacobi version with the Royal Shakespeare Company, followed by Girard Depardieu's version before this presentation with Peter Donat in the title role.

Adapting the Brian Hooker translation (my preference over the Burgess and wasn't 'dumbed down' as the prior reviewer states but translated and intrepretated by a young American poet to make the play accessible to the English speaking audience -- sometimes literal translations lack 'panache' and overall continuity of language) of the Edmond Rostand play, I found Donat's protrayal, while sensitive, to be weak. There is no command in his voice or definitive inflection in his delivery... for instance, the refrain of the duel at the Hotel de Bourgogne, that was fairly dramatic as the punctuation(!) to the end of the duel is delivered in the same bantering manner Donat used for the entire ballard... not really bad but bland and uninvolving. Likewise the scenes in Ragueneau's shop, where Cyrano delivers the 'What would you have me do? Seek for the patronage of some great man...' speech or even the balcony scene where Cyrano finds 'his own voice' was not dynamic and didn't resonate like I believe it should. These were long, confident, almost rallying speeches that seemed to lack conviction in this production.

As for the two other main roles in this production I've made a quick comparison to the Jose Ferrer version (the only other that used the Brian Hooker translation). Roxanne, Marsha Mason is probably a hair better in her delivery, although Marla Powers probably 'acted' more like Roxanne in her glances and gestures. For Christian, this is difficult because his character isn't really as defined by Rostand but I prefer William Prince... because IMHO, the character of Christian isn't a simpleton like the way Marc Singer played it, he just didn't articulate well around women -- we've all experienced the difficulty with speaking to someone we're are interested in; while William Prince didn't make the Christian character particularly strong, he didn't babble through the entire play either. after all, Christian did discern Cyrano's secret and confronted him at the Siege of Arras in Act 4 while torn between his highest desire for Roxanne and the probable loss of this in doing what is right; he had one of my favorite lines in the book, where he tells Cyrano to let Roxanne choose between the soul and the physical shell because, 'I'm tired of being my own rival.' the guy was clearly forthright and can think.

I understand that artistic interpretation is highly subjective, and that's why I am in disagreement with the previous reviewer. In reading the play and watching some of the other productions of Cyrano, I can't imagine Cyrano as anything but decisive (even confidently arrogant due in no small way by his skills and his Gascon pride)... with the except of opening declaring his love for Roxanne. That's why I feel the 1950 version is vastly superior under the Brian Hooker translation and likewise, the more dynamic (and better acted) portrayal by Derek Jacobi is better as well to this production. All in all not a bad production, just not distinguished.

Having recently viewed this DVD of Cyrano by the ACT of San Francisco, I was very impressed with Peter Donat as Cyrano. Compared to Jose Ferrer, Donat is a more convincing Cyrano due in part to how animated he is when gesturing. Ferrer, in my opinion, was very stiff and to loud. Although the duel sequence in the first act was better performed in the Ferrer version. Cyrano's duel with Valvert in the Donat version was a little skewed and turned into a comedy rather than a serious duel where two men's lives were at stake. Marsha Mason, who plays Roxanne, shows a lot more emotion in her love for Christian. Compared to Marla Powers in the 1950 version, this Roxanne is more intellectual and sophisticated. Marla Powers played the role just fine, but was just reciting lines. There was no emotion in her words. Marc Singer also does an excellent job of playing Christian, whom Roxanne falls in love with. Any fan of Cyrano will also be pleased to know that this staged version is more faithful to the original play than the Ferrer version was. I thought that the ommison of Lingere and Le Bret from the 1950 version did the play a great injustice. The reason I compare this theatre version with the 1950 version is because they both use the Brian Hooker translation. I preffered the Anthony Burgess translation because its more poetic and detailed as far as words are concerned. The Hooker translation is a little dumbed down. To get a sense of what I mean check out the Derek Jacobi version of Cyrano. It was made in 1984 by the Royal Shakespeare company and is only available on VHS at this time. And for the ultimate Cyrano adaptaion, check out the Gerard Depardieu version which was made in 1991. It was nominated for 4 Academy Awards including best foregin picture and will stand as the definitive version of Cyrano.

When this was first shown on PBS over 25 years ago, I thought it was the best thing I'd ever seen on television, and nothing that has happened in the interim has changed my view. Peter Donat makes a brilliant Cyrano, as good as anyone else has ever played it, but the jewel is Marsha Mason as Roxanne. Roxanne is usually portrayed as a lightweight ingenue, and it's hard to understand Cyrano's affection, but not here. Here is a Roxanne with the wit, grace and style to match Cyrano's own. It makes that aspect of the play more credible, which makes the last scene unbelievably poignant.

I despaired of this ever being on DVD, and it's release is a cause for joy. Buy several copies and give them to your firends.

I couldn't wait to see this DVD. I love Weill and I was expecting some terrific stuff. The singing was quite good, but the staging fell flat.

First the singing. Jones was quite good and made me think of Lauren Bacall with her sultry approach to her role. Malfitano is particulary interesting as an older Jenny. I have seen reviewers criticize her in this role for taking it on at her age,...she fits the part quite well.

The rest of the cast is quite good and the acting is excellent, particularly from Wilbur Pauley and Roy Cornelius Smith. Jerry Hadley as Jimmy Mahoney is technically very good.

Given this terrific cast, I was amazed at how unimpressed I was with the production. The first act staging had some interesting moments, particularly with the placement of Jones, Pauley, and Duesing. However, the drab colors and the lack of a sense of the feel of the natural setting of the American South (if indeed this is the place where the set designer intended this production to be set) made the opera seem more depressing that I think Weill intended. It seemed to exist in a dingy corner of the world. Certainly Mahagonny was one such place, but in Weill's mind, it existed in the tropical (indeed, even with hurricanes) American South.

The second act and the final death of Mahoney scene staging were equally uninteresting. Even several naked women couldn't brighten up the stage. The Statue of Liberty at the end was comical to this American who was watching the rich in Germany watch an opera about America--a bit obvious of a cliche don't you think?

My recommendation is to turn the TV off and turn the surround sound up.

Kurt Weill and Bertolt Brecht's "The Rise and Fall of The City of Mahagonny" is not only one of the most important operas of the twentieth century, it is also one of my personal top ten on a 'desert island' list. The music is exciting and adventurous, melodic, frantic, descriptive, beautiful, harsh and absolutely unforgettable.

On my first day of video shopping, after purchasing a DVD player, I saw this brand new release of the 1998 Salzburg Festival production directed well by Peter Zadek, conducted brilliantly by Dennis Russell Davies. The latter obviously has a true affinity for Weill's music: his recording of the ballet "The Seven Deadly Sins," featuring Marianne Faithful, is certainly one of the best available.

The quality of the picture and the sound on this DVD is, naturally, top notch. The question, however, must be raised as to whether television cameras are really all that helpful in a medium like opera where the singers sometimes distort their faces and bodies in order to produce the correct tone. This must be especially strange for a viewer coming to opera for the first time via television tapes or DVD's. Although the leading performers in this "Mahagonny" all have the acting chops to make their characters true and honest and exciting, they also must be true to the music and so we have many close-ups of their faces which, to be honest, are simply unflattering to the point of grotesquery.

Gwyneth Jones, as 'Leocadia Begbick, is still a beautiful woman, but, since her best career years are behind her, she can no longer handle alot of Weill's music and, thus, resorts to growling; Jerry Hadley as 'Jimmy Mahoney' acts and sings well enough but Catherine Malfitano is, I'm afraid, too mature in voice and body, to play a convincing 'Jenny.' Two other of the major roles are played by singer-actors who would do this piece proud anywhere: Dale Deusing as 'Pennybank Bill' and Udo Holdorf as 'Jake Schmidt.'

The designs for Salzburg are evocative, although they seemed to dwarf the actors at times (certainly they are more fitting than the ones used presently by the Metropolitan Opera in New York), the chorus sings well and acts adequately, although I question the use of full nudity. Was this really necessary to convey the sense of a brothel when the music and libretto do so already? The Radio Symphony Orchestra Vienna plays this difficult, wonderful score magnificently under Dennis Russell Davies. I also wanted to commend the uncredited fight director. The extended fight scene in Act 2, is one of the best and most realistic of any theatrical fight I've witnessed.

This is a very enjoyable production. Although some people may not like some of the actions on the stage, I think they're necessary because the Salzburg stage is simply so large! Besides, they're mostly very appropriate. Jerry Hadley and Catherin Malfitano are excellent leads and they've got excellent support from Gwyneth Jones, Cornelius Smith and Wilbur Pauley. This is the kind of epic theatre envisaged by Brecht and Weill. The picture and sound qualites are very good.

This is the best one out of all them, in the series. I'd give this 5 stars but the reason is that you can barely see the subtitles. But its a must see movie, i sorta understood anyway even though i could barely see the subtitles.

I agree about the subtitles being cut off and the quality poor but the VHS version is basically the same. In fact, on the VHS version, the movie cut to black immediately after the last bad guy gets killed off. No credits, no "THE END", nothing. This DVD is indeed for die-hard Jet Li fans because his fighting skills are quite good in it especially when he fights his way out of a jam filmed on the real "Great Wall of China".

It's surprising that more people like Shaolin Temple than Martial Arts of Shaolin, aka The North and South Shaolin. But from my point of view, this movie reflects the young Jet Li's best characteristics. Everyone acts so naturally and beautifully in the movie. There is no other Jet Li's movie which is of such a high spirit--intrinsically funny yet simple!!