Based on the novel by Gloria Naylor, which deals with several strong-willed women who live in a rundown housing project on Brewster Place in an unidentified eastern city; across three ... See full summary »
This movie interlaces the stories of several characters in a small town united by their use of CB (citizen's band) radio. Paul LeMat is the local CB coordinator who has time for little else... See full summary »
Rock-music lover and feature-film director Jonathan Demme takes on eccentric British singer-songwriter, Robyn Hitchcock, in an ambitious concert film. Setting up a stage in a New York ... See full summary »
After Paul D. finds his old slave friend Sethe in Ohio and moves in with her and her daughter Denver, a strange girl comes along by the name of "Beloved". Sethe and Denver take her in and then strange things start to happen... Written by
Jeremy Cohen <firstname.lastname@example.org>
Peter Weir had originally intended to direct this. See more »
The amount of lemonade in the glass while at the fairgrounds. See more »
Where your diamonds?
Diamonds? What would I be doing with diamonds?
On your ears.
Wish I did. Come to think of it, I had some crystal once. Present from the lady I used to work for.
Tell me. Tell me your diamonds.
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I found it difficult to understand the movie, and some of the dialogue, but it mattered little. I wish I'd read the book--perhaps I will, but I don't think so. A film must stand by itself, or it is not a film.
"Beloved" has long passages of greatness. First, it contains one of the best and most fascinating performances I've seen in years, given by Thandie Newton. She spent most of "Gridlock'd" in a coma, unfortunately, and that's the most notable role she's had until this one. Her first speaking (if you'll call it that) line is gripping, frightening, and amusing, and she plays a mental defective in a manner which I've never seen before. She has the loudest, rudest character, and many actresses would be put off by some of the things she must do throughout the film. However, our attention is also held by her quiet moments, as well as a few shots where the camera is content to gaze tranquilly into her beautiful eyes.
That camera is conducted with the supreme artistry of one of my favorite photographers, Tak Fujimoto, who was with director Jonathan Demme since the late '70s. Fujimoto is in love with earth and flesh tones here, but he also shoots his actors' eyes as if they were a part of the human body we'd never really noticed before, and wanted to give them the attention they deserved. It's a great approach to cinematography that pays off an infinite number of times, from the first major shot, of Sethe and Paul D reuniting (as Winfrey and Glover look at each other, they look not just into the camera, but directly into OUR eyes), to the last major shot, Jason Robards (God love him) staring in horror at a most unusual scene in front of Sethe's home.
This film is no "The Color Purple", with Welles-influenced camera angles and sacchirine-induced uplift. "Beloved" is a long, difficult, often off-putting film which doesn't really provide the big payoff at the end. This isn't necessarily good, but it isn't necessarily bad, either. Highlighted sequences include two truly remarkable sermons in the woods by Baby Suggs (Beah Richards--Oscar-nominated in '68 for "Guess Who's Coming to Dinner?"), a horrifying opening which features the most gruesome use of animatronics to date, and the notorious flashback which explain what has haunted Sethe all these years, and who Beloved really is.
I compare this film with "The Thin Red Line". Both come from notable directors, are based on famous novels, used huge budgets, and were very long. Both films disappointed many, many people. Most importantly, however, they both had parts which were greater than the whole, occasional strokes of genius, and were made by men who took the art of filmmaking seriously.
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