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on 13 September 2017
Super.
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on 2 November 2016
4 stars for the film but only 1 for the lousy subtitles. The transfer is quite good for an unrestored film of this age. Colours are vibrant and image quality overall isn't too bad once you accept the use of an old print. The subtitles are my main concern and if I had a branch of HMV handy (I bought it on holiday. My nearest branch is 260 miles away so I should have waited until I got home and then bought from Amazon!) I would take it back for a refund. In addition to assorted typos and spelling errors, the font was way too small and the subtitles were all around 1-1.5 seconds too early. Many titles appeared while the previous person was still speaking and many appeared before the picture cut to the relevant shot. This means you have to really concentrate on reading the subtitles rather than just enjoying the story. This is especially ridiculous as this film is a doddle to subtitle properly. I know, as it was subtitled to a much higher standard about 25 years ago. The option to listen to an English dubbed soundtrack is available but this is cringeworthy in its amateurishness. The choice of voices was no better than many a 1970s martial arts movie from Hong Kong and no attempt at lip-synching was evident on the section I watched before going back to the subtitles.

P.S At least at the time of purchase it was cheaper from HMV - and Eurydice's a babe! Schwing!
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on 2 March 2002
this is the most magical brazillian musical rendering of the myth based in carnival in brazil. magical, fabulous evocative music, georgous to look at, this is what can happen to a classsical myth in the hands of an artist.
The music was haunting and the film works on many symbolic (in the jungain sense) levels, with dream like states, and as a film about love and death it should be.
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Black Orpheus won the Palme d'Or at Cannes, but in many ways it seems a bit dated, particularly in a certain naivety of tone which is very different from the style of films today. Having said this, the leads are very winning, Rio has an air of enchantment, and the Carnival is shown as quite ambiguous because of the story that is grafted onto it: it is both exciting, with its pulsating rhythms coming to dominate more and more, and threatening, in that you can disappear in a crowd or be pursued, and no one will notice. The first dance sequence between Orpheus and Eurydice gets a real sense of elation, and is perhaps the high point of the film. This and other sequences really need the big screen to make their full effect, and as such represent cinema in its purest state. The gold disk face carried down the hill and then disappearing against the fantastic landscape, for instance, needs the sense of infinite blue space and haze, just as the street scenes need to teem with movement and colour in a way that overwhelms the viewer. The two actors have remarkable grace and I love Orpheus's gold lattice top and micro-skirt (for want of a better word). Eurydice is more simply dressed but looks dazzling and has a face that could indeed launch a thousand ships ...
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on 22 March 2006
This film, directed by Marcel Camus and based on a play written by Brazilian writer Vinicius de Moraes, updates the tragic Greek myth of Orpheus and Eurydice, setting that hauntingly beautiful and tragic story in Brazil against the vibrant backdrop provided by the Carnival of Rio de Janeiro.
In “Black Orpheus”, Orpheus (Bruno Mello) is a trolley car conductor, a samba dancer and outstanding musician. He is also a womanizer who is being dragged into marriage by his latest girlfriend, Mira (Lourdes de Oliveira). Something unexpected happens, though: Orpheus meets a newcomer to Rio, Eurydice (Marpessa Dawn), and falls in love with her. Eurydice arrived to Rio seeking refuge in the house of her cousin from a stalker that wants to kill her. However, when she meets Orpheus, Eurydice also falls in love with him and his songs.
The story of the two lovers develops during the Carnival, and despite the problems provided by Mira, the discarded girlfriend, and the stalker that frights Eurydice and represents Death. The musical score, composed by Antonio Carlos Jobim and Luis Bonfa, provides an excellent support to the story and adds just the right finishing touch. It is something that along a great plot, a wonderful cast, and a very good director, manages to make this film something that you will enjoy, remember, and probably recommend to others.
In think that this is one of the best films I have seen, and I regret the fact that is not more well-known. Of course, HIGHLY RECOMMENDED.
Belen Alcat
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on 28 December 2005
A must for serious fans of Brazilian cinema. This superlative film is filled with classical references, beautiful music, joy, passion, pain and loss. The honest yet sympathetic depiction of working-class 1950s Rio de Janeiro is thoughtful and moving. Fabulous photography, too. First rate.
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on 9 April 2009
I saw this when it was first released and I was a student. It was something of a cult film at the time. Seeing it fifty years later it perhaps wasn't quite as magical as I remembered. But you could still see why it won awards. And perhaps this was the first time most of us heard the bossa nova
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on 5 April 2009
THIS EVOCATIVE, BRILLIANTLY FILMED STORY, BASED ON THE LEGENDARY LOVE OF ORPHEUS FOR EURIDICE, WAS COMPLETELY RUINED BY THE APALLING QUALITY OF THE DVD. THERE WERE AT LEAST 6 NASTY BREAKS IN THE CONTINUITY AND IT WAS DIFFICULT TO ACHIEVE THE SUB-TITLES. A BAD BUY.
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on 26 August 2017
Good memries niw in bluray
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on 7 August 2009
This is a first-rate DVD of the 1950s French film. Colour and sound first-rate. A really excellent film which I saw originally many years ago. Thoroughly recommended.
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