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31 Days of Films and Frights – Day 23: The Witchfinder General (The Conqueror Worm)

31 Days of Films and Frights – Day 23: The Witchfinder General (The Conqueror Worm)

It was a dark and stormy night, my brother and I huddled under the handmade quilt that our grandmother had made for one of us as a birthday gift years earlier. Gripped in hand, flashlight at the ready, was my brothers 1984 Thriller Talking View-Master. We took turns viewing the mesmerizing images from the famous John Landis directed music video for the King of Pop’s zombified music video. Slowly, we progressed through the images, anticipating the moment when our favorite section of the stereoscopic viewer with a soundtrack would arrive.

After a few brief moments, our expectancy was quenched by the haunting narration from the master of macabre, the dab hand of horror, the cognoscente of creep: Vincent Price.

To my brother and I, there was no other actor. We would often make pilgrimages to a neighboring town on Saturday afternoons to visit our favorite comic shop, Dave’s, and then saunter across the street to the old music hall in order to watch a double feature of films from years before. Many of those times one of those films would feature our favorite film star of horror. It was there, on the big screen, on a print that had seen far better days, that we first saw House of Wax in 3D, The Fly, Tales of Terror, and House on Haunted Hill.

So it was with great anticipation when I learned of this film, only weeks ago. An acquaintance of mine was questioned by a film industry news site what he would pick as his top horror films of all time. As you can guess, today’s film was on that list. Thankfully, the excellent folks at Scream Factory had also recently released it on glorious Blu-ray.

31 Days of Films and Frights – Day 23: The Witchfinder General (The Conqueror Worm)

Conqueror Worm posterDirector: Michael Reeves
Year: 1968
Cast: Vincent Price, Ian Ogilvy, Hilary Dwyer
Language: English
Country: United Kingdom
Specs: 86 mins. / Color / OAR 1.85.1 / MPAA Rating: NR
Rating: ★★★★★ / A

Matthew Hopkins, a man calling himself a Witchhunter, roams the countryside, offering his services to any paying community in order to rid themselves of so called witches. Unfortunately for the small village of Brandeston, Suffolk, he chooses them for his next “visit”.

Wow. That’s the 1st word that I thought of as I sat through this fictional tale of an actual person during a disturbingly dark era in modern human history. This film is brutal. It isn’t filled with gore, there aren’t any ghosts, not a possession nor masked murderer of sexually charged teens in sight. What we have is a morbid tale of the infamous witch hunts. As I watched this film, the thought entered my mind that if even a fraction of what is on display here were true, it would be more disturbing than anything the minds of Eli Roth or Dario Argento could produce.

The acting is top notch. The story is equally as engrossing. The subject matter is repulsing. The direction and soundtrack is revealing, in that the most disturbing horror is what we as humans do to each other, more than what any My Buddy doll come-to-life could wreak. Those responsible for the atrocities fictionalized here are the true Pin Heads of our society.

Witchfinder General stillI’m glad that I “found” this film. I’m hopeful that others will be as intrigued. I’d recommend screening your own personal Double Feature, rounding out the bill with a film featuring another of my favorite veterans of horror, The Wicker Man, staring Christopher Lee.

I should forewarn you in advance, however, that you certainly won’t find any spoonfuls of sugar in these versions of the UK.

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Posted by on October 23, 2013 in Movies

 

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20 Films Remade by the Original Directors Pt.10

We are at the end of my 10 part blog on films remade by the same director as the original version.  To recap, the seeds for writing this article came about when news broke that director David Cronenberg was going to be remaking his 1986 film “The Fly”, which originally stared Jeff Goldblum in the starring role.  Days later it was announced that French director Géla Babluani was going to be remaking as a big budget Hollywood film his 2005 French film “13 Tzameti”, this time in color.  It was with this news that I set out to research if there ever had been a director who had done this before?  I was curious if any directors in the past 100+ of film making had learned from the mistakes (even if the original were an excellent film) of the original and redone a later version, with years of maturity, money, and experience behind them?

To my surprise, there were many.  I decided to narrow my field of research to 20 different films, thus giving me a total of 40 to watch (I actually watched 42, counting the two mentioned in the section above!)  Even further to my astonishment, I learned that it is indeed quite possible for a director to turn out a better film.  Not surprisingly, I also learned that it’s possible to turn in a turkey as well.

However, even more to my incredulity, and you’ll see after todays final films, the odds were IN FAVOR of the film turning out better!  A total of 12 were equal or better, in my opinion, and only 8 were worse!  Even then, only a few of those were grades lower in my ratings, with many them being only 1/2 – 1 grade lower!

You’ll be happy to know that todays films were my favorites out of the bunch.  Not favorite remakes, per say, but favorite pairs.  Meaning, I thought that the originals were excellent, and the remakes magical.  Surprisingly (or maybe not!), all 4 of todays films were directed by the same director.  A director that, hitherto, I did not know much about.  However, after watching these 4 films, I realized that I had stumbled upon a director of the highest caliber.  A director that I knew would soon garner a position in my favorite directors list (needless to say, I did view a handful more of his films subsequent to this review, solidifying his standing).

“Remaking the Tinsel in Tinseltown”

Or

“20 Films Remade by the Original Directors”

Part X

Remake #19

~Director: Yasujirō Ozu~

Original Film: A Story of Floating Weeds – “Ukikusa Monogatari”
Year: 1934
Cast: Takeshi Sakamoto, Chouko Iida, Koji Mitsui, Yoshiko Tsubouchi
Language: Japanese
Country: Japan
Specs: 86 mins / Black and White / OAR 1.37:1

A wonderful little film that is unlike most others of that era.  The acting is subtle and not overacted, as is so common in other silent films.  The engrossing story of a traveling acting troupe that stops into a small Japanese farming town where the master has a former mistress and son whom he decides to visit, inciting a vengeful current mistress, is beautifully told.  It is evident moments into the film that Ozu was a master storyteller, relying on character mannerisms and subtleties to compel the viewer to stay seated.

The film is a testament to how one little sin can snowball and affect so many people, not just the one who committed the sin.  A truly wonderful piece of film from one of Japan’s most celebrated filmmakers.

My Rating: ***** / A

Remake Film: Floating Weeds – “Ukigusa”
Year: 1959
Cast: Ganjiro Nakamura, Machiko Kyō, Hiroshi Kawaguchi, Haruko Sugimura, Ayako Wakao
Language: Japanese
Country: Japan
Specs: 119 mins / Color / OAR 1.37:1

An absolutely wonderful film.  Simply put, one of the best.  Wonderful musical score and spectacular script easily make this a huge improvement on an already excellent film (the 1934 original).  Director Ozu has flushed out the story, added some very witty humor, and cast the perfect actors to pull off this story of a traveling acting troupe that stops into a small Japanese farming town where the master has a former mistress and son whom he decides to visit, inciting a vengeful current mistress.  Most of the humorous scenes are part of the side story, which is about the other actors in the troupe seeking to find women to keep company with while in town.

The only question I had regarding Ozu’s direction was the choice to have the actors speak directly into the camera when addressing the offscreen character, instead of an over-the-shoulder or a two-shot framing.  I felt myself being pulled out of the film each time this occurred.

The cinematography is simply gorgeous, with colors popping off the screen in the most vibrant of ways.  The story itself is a simple one, yet powerful in that it shows how one man’s sin will affect so many around him.  A must own.

My Rating: ***** / A

Remake #20

~Director: Yasujirō Ozu~

Original Film: Late Spring – “Banshun”
Year: 1949
Cast: Chishu Ryu, Setsuko Hara, Haruko Sugimura, Yumeji Tsukioka, Yoshiko Tsubouchi
Language: Japanese
Country: Japan
Specs: 108 mins / Black and White / OAR 1.37:1

A gratifying character driven story about a widowed man who desires to marry off his stubborn daughter, lying about his own engagement in order to do so.  This film was an entertaining film, but lacked any real drama.  It served more as a day-in-the-life-of genre  film than a dramatic film in the truest sense of the word.

Interestingly, Ozu chose to have the characters speak directly into the camera when addressing another character, instead of an Over-the-shoulder shot, or two shot.  The second or third time it happens, I no longer noticed it, which is an indication of the quality of filmmaking.

While a very slow moving film, one that likely would never get made today due to the current nature of the flash, bang, cut, music video style films, it was still a very well acted film, with wonderful music, and an interesting peek into middle class life in early postwar Japan.  The cinematography is superb, and truly shows that images can indeed tell a story.  Another case to show that editing isn’t cutting every 3 seconds, but letting a scene play out and breathe to tell a more effective story.

A very well made film.

My Rating: ***** / A-

Remake Film:  Late Autumn – “Akibiyori”
Year: 1960
Cast: Setsuko Hara, Yôko Tsukasa, Mariko Okada, Keiji Sada, Miyuki Kuwano, Chishu Ryu
Language: Japanese
Country: Japan
Specs: 128 mins / Color / OAR 1.37:1

A very amusing remake of “Late Spring” changes some things from the original version (strangely enough, the title, as you can see) that give it more drama and tension.  The change from the father widow to a mother widow made the desire for the girl to stay and help her parent instead of getting married all the more dramatic, as the two women go through similar situations with courting men.  Including the fathers friends as the men attempting to marry off his daughter has added delightful humor, as well as a dramatic element of the pressure of men to see their daughters married.

A wonderful jazz score, a script that could be made again today with it’s portrayal of adults and their views on “young kids today”, along with the beautiful cinematography all elevate this film above the previous in a minor way.

Again, as seems to be common with Ozu, there is one directorial decision I still don’t quite understand?  Why Ozu has his characters directly addressing the camera in CU’s instead of an over-the-shoulder two shot is unclear.  Happily, after seeing it for a few films now, I have an opinion on the matter.  I would surmise that Ozu feels it allows the viewer to see inside the soul of his characters, giving them more personality.

A wonderful film through and through.  A true classic.

My Rating: ***** / A

Hope you enjoyed this series.  I’m off now to catch some much needed sleep!!!…

 
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Posted by on June 4, 2010 in Movies

 

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20 Films Remade by the Original Directors Pt.2

If you read yesterday’s post, you are obviously anxiously waiting to see what the remaining 18 films are that I chose to watch and write about.  In my search I found that there were many more films that have been remade by the original director than the 20 (40 actually) I have chosen to write about.  You’ll have to do your own query if you are interested in those!  The article I am writing (or articles, as you would) came about after it was announced that director David Cronenberg was going to remake his own film “The Fly”, and director Géla Babluani was going to be doing the same for his very well made film “13 Tzameti”.  In a sense, this news from Hollywood was welcome, as opposed to the current trend of directors to simply “revisit” the film and “fix” it with today’s computer graphics.

It was this reason that I decided to write the article for you today.  I welcome your comments, and any feedback you have regarding the films.  Now, without further ado, I present to you:

“Remaking the Tinsel in Tinseltown”

Or

“20 Films Remade by the Original Directors”

Part II

Remake #3

~Director:  Boaz Davidson~

Original Film:   Eskimo Limon
Year:  1978
Cast:  Yftach Katzur, Anat Atzmon, Jonathan Sagall, Zachi Noy, Ophelia Shtruhl
Language:  English Dub
Country:  Israel
Specs:  95 mins. / Color / OAR 1.85:1

Really?  A Golden Globe nomination for this film?  The film is an Israeli teen sex-comedy set in the 50’s, dubbed into English.  Typical to most other teen sex comedies, story revolves around a group of young men in their quest to get laid.  The film opens up with a group of boys all measuring each others “units” to see who is the smallest.  Big scene involves a local woman who “beds” a group of boys, one after the other, as the others watch through the keyhole on the bedroom door.  We see it all, from their POV, mind you.

An annoying aspect of this film is that it’s nearly wall-to-wall 50’s music underneath, with little room for ambience sound.  A little overbearing to the senses.

How this film differs from others of the genre, however, is the consequences that come from their “conquests”.  They all contract a VD, one of the teen girls who loses her virginity to one of the boys gets pregnant, and he abandons her.  The other friend, who truly loves her, comes to her side and supports her through an abortion.  Sadly, the repercussions from that act never surface.

Moreover, different from most other of these pointless films, is the ending.  It is not a happy “all the boys are lucky” ending.  The ending was a sad, yes, but also added a believable touch that gave this film a little higher than mind-numbingly dumb status.  Barely.

My Rating:  ** / D

Remake Film:  The Last American Virgin
Year:  1982
Cast:  Lawrence Monoson, Joe Rubbo, Diane Franklin, Louisa Moritz
Language: English
Country:  United States
Specs:  92 mins. / Color / OAR 1.85:1

An updated remake of Eskimo Limon.  Boaz Davidson changed the location from 1950‘s Israel to modern-day Los Angeles, and changed some minor elements to the script.  In doing so, he made a much funnier, better timed film about the same silly subject.  Why Boaz decided to add cocaine use, marijuana use, and DUI as normal and accepted, however, is sad.  I can only surmise that at the time the film was made, these were the “chic” elements of a party in the LA scene.

For the sake of protecting any families (although if you haven’t figured it out by now, you’re….never mind) from sitting down and watching these films that I’m reviewing together on “Family Film Night”, let me notify you that there is loads of nudity and sexual situations, with a hefty portion of adult language thrown in.  Just like its earlier version, the film has some positive elements to it, doesn’t end on a positive note, and displays some repercussions for the decisions people make.  Unfortunately, Davidson only chooses to handpick some of those consequences, leaving others standing at the closed door.  Too bad.  That, and the (as was the case with the previous version) wall-to-wall music (this time the 80’s are featured) just detract too much from the overall enjoyment of this film.

My Rating: *** / C

Remake #4

~Director:  Cecil B. DeMille~

Original Film:  The Ten Commandments
Year:  1923
Cast: Theodore Roberts, Charles De Roche, Estelle Taylor, Richard Dix, Julia Faye, Rod La Rocque
Language: English
Country:  United States
Specs:  146 mins. / Black and White & Technicolor / OAR 1.33:1 (4×3)

This early silent picture is a wonderful spectacle of a film that suddenly shifts halfway through and becomes a modern morality tale.  The sets for the biblical story of Moses are phenomenal, complete with thousands of extras all dressed in meticulously designed costumes.  The way DeMille tells the story of how Moses received the commandments is very clever for a silent film, and other special effects such as the burning bush, the parting of the Red Sea, and the fire that separated the Hebrews from the Egyptians are all very well done, rivaling some of the effects seen in films decades later!

The bible story, while not entirely biblically accurate, also is very tense and intriguing, keeping the interest throughout.  Granted the shift from the story of the Hebrews worshipping the golden calf to the modern story was a bit alarming, leaving the desire to see more of the biblical tale burning inside.

Unfortunately, the morality tale second half doesn’t hold up well, complete with what is now a very clichéd storyline, and overacting hamminess at it’s “finest”.  In perspective, I’m sure it was a very gripping tale of vices and how they can have a devastating effect on not only ourselves, but on others around us.

Overall an enjoyable film.  If only Hollywood movies today were made with the tangible sets and grandiose splendor on display here…

Oh well, I guess that’s another blog.

My Rating: *** / C

Remake Film:  The Ten Commandments
Year:  1956
Cast: Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne De Carlo, Debra Paget, John Derek
Language: English
Country:  United States
Specs:  220 mins. / Color: Technicolor / OAR 1.85:1 VistaVision

This remake of the 1923 version is more grandiose, more vibrant, more extravagant, and much longer.  DeMille took his black and white 4×3 film, and turned it into a Technicolor VistaVision marvel.  Right from the start, we are witness to perhaps the longest opening credit sequence at that time, and made aware that having many different writers on the script is not new to today’s movies.  Scenes such as the introduction of the Ethiopian ambassador’s, to the celebration of the Golden Calf worship show that DeMille spared no expense when deciding to display the vibrant colors of 3-Strip Technicolor.  The sets are simply lavish and beautiful, with the Special Effects equally as impressive.  The acting, however, is ham-fisted, and hokey throughout.

Deciding to focus on the story of Moses entirely, instead of including the modern day morality tale was welcome, and the attention to detail is something many filmmakers today ought to pay heed to.  Without question, this version of the film is THE version to see.  It’s witnessing films such as this that makes the notion that DeMille was a visionary believable.

An entertaining film, to be sure.  Easy to see how it’s regarded as one of the biggest events in motion picture history!

My Rating: **** / B

Back tomorrow for part 3…

 
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Posted by on May 25, 2010 in Movies

 

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20 Films Remade by the Original Directors Pt.1

Movies.  People enjoy seeing them.  People enjoy creating them.  Sometimes, directors enjoy remaking them.  It should come as no surprise when I write that Hollywood has a current fixation with remaking previously produced films (“Clash of the Titans”), rebooting franchises that have gotten long in the tooth (unless you are a current “franchise” like Spider-man, Hulk, or Fantastic Four) (“Nightmare on Elm Street”), and re-imagining properties (while television, not films: “Rockford Files”, “Bionic Woman”).

Recently, it was announced that David Cronenberg (“Scanners”, “Videodrome”, “A History of Violence”) was moving forward with an earlier announcement that he was remaking his 1986 Sci-fi/Horror flick “The Fly”.  In addition, it was announced that director Géla Babluani was going to be remaking his dark “Fight Club”-ish 2005 French film “13 Tzameti” as a big budget Hollywood picture.  The news was interesting to read.  For starters, initial thoughts amongst the blogosphere were “Why would a director revisit an earlier picture and remake it?  Especially if the original were such a success?”,  “Can this be good news?  Is there a chance that the remakes will be better?”, and “Oh brother.  Another remake, yet again.  When does it stop?”.

I then decided that I would undertake a large task in my quest for knowledge.  I decided to view a number of films throughout film history that had been remade by the originals directors, as well as the aforementioned remakes.  I also realized that I would have a duty to review each film, in order that I could get a gauge on the likelihood of these recently announced remakes being as entertaining as the originals.

In my multipart article, I focus mainly on films that are true remakes, not films that are dubbed remakes, but in actuality are feature versions of a previously produced short film (“Memento Mori” remade as “Memento”), or are actually “sequel-remakes” (“Evil Dead”/”Evil Dead 2”, “El Mariachi”/”Desperado”), or are actually director’s making English version “sequels to remakes” (Hideo Nakata with the Japanese “Ringu” and the American “The Ring 2”).  I will focus on films that went from being silents to talkies, black and white to color, 4×3 to 16×9, foreign to American, television movie to feature film, and any combination thereof!  In doing so, I’ve found some real gems that I’m sure you’ll enjoy.

So sit right back and enjoy this series of articles which I’ve titled…

“Remaking the Tinsel in Tinseltown”

Or

“20 Films Remade by the Original Directors”

Remake #1

~DirectorA. R. Murugadoss~

Original Film:  Ghajini
Year:  2005
Cast:  Surya Sivakumar, Asin Thottumkal, Nayantara, Pradeep Rawat, Riyaz Khan
Language:  Tamil
Country:  India
Specs:  180 mins. / Color / OAR 2.7:1

Tamil language “Memento” rip-off meets “Old Boy” in this so over the top bad it’s good action/love-story/comedy film.  It starts off as a blatant rip-off of Christopher Nolan’s masterpiece, then abruptly turns into a Bollywood musical, then suddenly takes a left turn into a romantic screwball comedy, and continues to bounce between the multi-genres for the entire 3 hour film.

The music and editing surely help in the entertainment value of this film, which also jumps into pure “chop-sock-y/wire-fu” in a number of scenes.  The complete sound effects from the kung-fu movies of the 70’s is present, as is the obviously bad acting action/stunt-men.  This film felt very much like a “USA Up All Night with Rhonda Shear or Gilbert Gottfried” film with some of the “posing” the muscle head stars did for each line of dialogue.  The special effects were comical, with the blood being obvious red paint, the bodies being outlined in chalk in comical poses, and the fighters holding each other suspended in air while swirling them around all with one hand!

The movie is entertaining in it’s own right, and did hold interest throughout.  The “musical” interludes and the Intermission were the highlights of this B-grade movie.

My Rating*** / C+

Remake Film:  Ghajini
Year:  2008
Cast:  Aamir Khan, Asin Thottumkal, Jiah Khan, Pradeep Rawat, Riyaz Khan
Language:  Hindi
Country:  India
Specs:  183 mins. / Color / OAR 2.35:1

A much better cast, a flushed out story, minor tweaks to the script, a new more believable ending, more appropriate contemporary music, better integrated “Bollywood Musical Interludes”, better editing, and a much bigger budget all are behind this nearly shot-for-shot Hindi remake of the 2005 Tamil version.  While the action sequences are still a bit over-the-top, the sound effects accompanying said sequences are much more contemporary, adding a dullness to the body blows, etc.  The entire reworking of the end of the film was a much better choice, getting rid of the superhuman twin battle, and losing the twin storyline altogether.  This truly is a unique revenge film now (while still resembling “Memento” a little too closely), with the comedic, romance story interweaved into the revenge picture very nicely.  It’s still a relatively violent picture, and still a tad too long at 3 hours, but my interest never waned.

This is another instance of a director learning from his previous mistakes, improving on them, and outputting a higher caliber film, that is leaps and bounds above the prior incarnation.  Definitely a fun film.

My Rating: **** / B+

Remake #2

~DirectorAlfred Hitchcock~

Original Film:  The Man Who Knew Too Much
Year:  1934
Cast: Peter Lorre, Edna Best, Leslie Banks
Language: English
Country:  United Kingdom
Specs:  75 mins. / Black and White / OAR 1.37:1

Intrigue, suspense, and mystery is what Hitchcock gives the viewer right out of the gate in this classic thriller.  The film opens with a bullet piercing through a window pane, after which a man notices under his dinner jacket that he has been shot.  He slips a note to a man and his wife, and dies in their arms.  Thus begins a tale of spies, murder, and kidnapping that features excellent editing (most scenes are hard cuts to the next, creating a cliffhanger chapter break similar to the Saturday Serials of that time), clever use of sound (the pocket-watch chime to announce the presence of Peter Lorre is always startling (similar in effect as hearing Darth Vader breathing from off screen would be in “Star Wars”)).

It comes as no surprise to fans of Hitchcock and screenwriter Charles Bennett’s other films (“39 Steps”, “Sabotage”, “Foreign Correspondent” that this film features simply excellent writing as well.  There are many memorable lines of very clever dialogue (Peter Lorre’s line “They will be leaving us.  They will be leaving us for a long long journey.  How is it that Shakespeare says?  From which no traveler returns…”) and the suspense level is high.  Sets are basic and small, with no real grand scale to things.  Many of the sets are obvious backdrops, which is something the remake has up on this version.

Nice unpredictable set-up at the beginning of the film with the mother shooting clay pigeons at a Swiss Alps resort.  And using the chiming of the pocket-watch to resolve the end is very clever, similar to the sneeze at the end of “Taking of Pelham 123”.  A wonderful piece of film history from the master filmmaker himself.

My Rating: ***** / A

Remake Film:  The Man Who Knew Too Much
Year:  1956
Cast: James Stewart, Doris Day, Brenda De Banzie, Bernard Miles, Daniel Gélin
Language: English
Country:  United States
Specs:  120 mins. / Color: Technicolor / OAR 1.85:1 VistaVision

A remake of the spectacular 1934 version, this film is equally as thrilling and entertaining.  There were some changes that the director made from the original picture, and yet the film didn’t suffer from those decisions.  No doubt to capitalize on the vibrant colors of Technicolor, and to showcase the wider aspect ratio of VistaVision, Hitchcock changed the locale to a more exotic land, ensuring a sense of being “out of place” for the characters, thus lending a bit more reality.  For reasons unknown, he changed the child from a girl to a boy.  Of course, music was also added this time around, from frequent collaborator Bernard Herrmann.  Herrmann delivers a very compelling and eerie score which certainly lends to the suspense of this film.

Wisely, the foundation of the script was reworked as well, adding more intrigue and character development to most of the characters, fleshing out any unanswered questions viewers may have had with the first film.

However, the death sequence of Louis Bernard isn’t as clever this time around, nor is the way that Stewart’s character gets the information about the assassination.  A simple whisper in his ear is far less entertaining and suspenseful than the hidden message in the hotel room.  Finding the note in the shaving brush and his attempts to conceal the letter were wonderful moments that were missed in this remake!

The acting this time around is, surprisingly, a step above the previous incarnations, and the addition of “Que Sera, Sera” is a nice touch (apparently the Academy of Motion Picture Arts and Sciences thought so also, as the film won the Oscar for Best Song that year!).  It’s easy to understand why they added the musical performances, as musicals were all the rage in Hollywood at that time, and it fits just perfectly here.

While the lengthy Royal Albert Hall sequence is more enjoyable, the ending is worse and anti-climactic compared to the original.  I was left wondering why Hitchcock chose to do away with guns in this version.  There are no guns in the film, which deters from the “murderous” intents of the characters, and felt a little uneven.

While many reviewers felt the original were a far better film, I would hesitate to make such claim.  The costumes, locale, and vivid colors of the amazing technicolor process are simply wonderful to look at, the story is still a well done story, the acting is excellent all around, and the music by Herrmann is always a pleasure to listen to.  The film is still a wonderful film, and was worth the experience.

My Rating: ***** / A

Back tomorrow for part 2…

 
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Posted by on May 24, 2010 in Movies

 

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