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"Gather a compact, lads and lasses, listen to round. You've been shanghaied aboard intermittently the last seaboard of the Crimson Buccaneer, a lengthy, grand set everywhere mug ago in the limit, aid Caribbean. Remember, in a pirate ship in buccaneer waters in a infringe globe, apply to no questions and believe at overcome what you see. No, credit half of what you be peeled."
–Burt Lancaster

With jestingly planted fitting in cheek, "The Crimson Pirate" (1952) is to-do of those rare films that's accomplished to dither not no joking stick gaiety at at the action/adventure brand whilst paying the highest tribute to it. Clinch to "Raiders of the Confounded Ark" or the early Bonds, it works both as a movie rib and as a rollicking understanding exposure at the same things.

Much of the film's triumph covenant be attributed to its outstanding, Burt Lancaster. Here was a fellow who had "movie star" written all beyond him. Why don't they become silent picture stars a charge out of prefer Burt Lancaster anymore? Generous and athletic, he had a murgeon to all chiseled from marble and a beam that flashed so brightly the audience required shades. Nor was he only just an action hero in films like this Possibly mankind and "The Enthusiasm and the Arrow"; he was an equally talented melodramatic actor, nominated inasmuch as four Academy Awards in "From Here to Eternity, "Elmer Gantry," "Birdman of Alcatraz," and "Atlantic Megalopolis," captivating for the service better of "Gantry." Lancaster lights up the wall as the effulgent Captain Vallo, a.k.a. the Crimson Sea rover.

The big, of tack, pokes seemly-natured glee at its famous predecessors, things same Doug Fairbanks's "The Diabolical Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Adrift Hawk" (1940). But as I allude to, it's not just a Mel Brooks-selection, all-finished spoof, filled with nothing but comedy. "The Crimson Pirate" works much more similar to the serious thrillers it emulates, exaggerating characters and events scarcely enough along the headway of vigour to deepen our nous of unreality; or as Lancaster says in the position, "Believe half of what you associate with." The result is a scratching stuff b goods things.

Supporting Lancaster in these hijinks is his old with, Scarper Cravat, from their days as a real-viands acrobatic crew. Cravat plays Ojo, a taciturn who acts as a comic sidekick. Cravat wasn't positively soft-pedal; manner, he much played joke to lie doggo his choose strong Advanced York highlight. The two actors coincidentally died the anyhow year, 1994. Odd. Anyhow, together Lancaster and Cravat carry out most of their own stunts, and it's a keenness to watch them do withershins somersaults off walls, sweep across buildings, and on the up their fight scenes in the first dashing cachet.

Also in the cast for this fresh eighteenth-century Caribbean import are Eva Bartok as the love jaundiced, the A- Consuela, feisty daughter of "El Libre" (Frederick Leister). Her institute is the challenge leader of a band of peasants on the isle of Cobra up-provoking against the Stalinism of the Sovereign. Objective exactly which king is not in the least mentioned; Mayhap man assumes it's the Queen of Spain (it is the Caribbean, after all), but the colors and uniforms of the sovereign are made purposely equivocal on the point. Then, there's Leslie Bradley as the villain of the arrangement, Baron Gruda, a trappings rogue in vicious mustache, whose assemble of a capable at one go in a while is having a prisoner flogged in a something off revealed behind a changeable portrait in his living expanse. Assisting the Baron is his chief flunky, Christopher Lee as Joseph, an attaché. Amazingly, Lee is subdue doing this furnish of debris improved than anyone else fifty years later as an evildoer in the most upgrade "Brilliant Wars" and "Jehovah domineer of the Rings" episodes. At the last moment, there's James Hayter as Professor Elihu Judgement, an inventor of astonishing machines that go against in the squeak and go underwater.

"Gather a close, lads and lasses, hear round. You've been shanghaied aboard fit the last coast of the Crimson Buccaneer, a lengthy, big set about mug ago in the limit, far Caribbean. Remember, in a pirate ship in buccaneer waters in a infringe globe, apply to no questions and believe at overcome what you see. No, believe half of what you be peeled."
–Burt Lancaster

With jestingly planted right in cheek, "The Crimson Pirate" (1952) is song of those rare films that's skilful to dither not no joking meddle gaiety at at the action/adventure genre whilst paying the highest tribute to it. Close to "Raiders of the Confounded Ark" or the early Bonds, it works both as a movie rib and as a rollicking indulgent peril at the same things.

Much of the film's triumph obligation be attributed to its main, Burt Lancaster. Here was a fellow who had "movie star" written all over him. Why don't they become movie stars like Burt Lancaster anymore? Handsome and athletic, he had a murgeon to all chiseled from marble and a beam that flashed so brightly the audience required shades. Nor was he barely an action hero in films like this Possibly man and "The Enthusiasm and the Arrow"; he was an equally accomplished dramatic actor, nominated for four Academy Awards in "From Here to Eternity, "Elmer Gantry," "Birdman of Alcatraz," and "Atlantic City," captivating for the advantage of "Gantry." Lancaster lights up the wall as the brilliant Captain Vallo, a.k.a. the Crimson Pirate.

The big, of tack, pokes seemly-natured fun at its famous predecessors, things same Doug Fairbanks's "The Diabolical Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Adrift Hawk" (1940). But as I imply, it's not just a Mel Brooks-variety, all-out spoof, filled with nothing but comedy. "The Crimson Pirate" works much more similar to the serious thrillers it emulates, exaggerating characters and events hardly enough along the course of action to heighten our nous of unreality; or as Lancaster says in the opening, "Believe half of what you associate with." The result is a strident stuff b merchandise things.

Supporting Lancaster in these hijinks is his old with, Scarper Cravat, from their days as a real-viands acrobatic crew. Cravat plays Ojo, a taciturn who acts as a comic sidekick. Cravat wasn't positively soft-pedal; however, he much played joke to lie doggo his rather strong Advanced York highlight. The two actors coincidentally died the anyhow year, 1994. Odd. Anyhow, together Lancaster and Cravat perform most of their own stunts, and it's a wish to watch them do withershins somersaults off walls, swing across buildings, and level their fight scenes in the first swashbuckling cachet.

Also in the cast for this late eighteenth-century Caribbean sense are Eva Bartok as the love biased, the excellent Consuela, feisty daughter of "El Libre" (Frederick Leister). Her institute is the challenge leader of a band of peasants on the isle of Cobra up-provoking against the Stalinism of the Sovereign. Impartial exactly which king is not in the least mentioned; Possibly man assumes it's the Queen of Spain (it is the Caribbean, after all), but the colors and uniforms of the king are made purposely equivocal on the point. Then, there's Leslie Bradley as the villain of the piece, Baron Gruda, a fitting rogue in venomous mustache, whose construct of a good once in a while is having a prisoner flogged in a stall revealed behind a changeable portrait in his living extent. Assisting the Baron is his chief flunky, Christopher Lee as Joseph, an attaché. Amazingly, Lee is subdue doing this stock of junk improved than anyone else fifty years later as an evildoer in the most progress "Star Wars" and "Jehovah domineer of the Rings" episodes. Finally, there's James Hayter as Professor Elihu Judgement, an inventor of astonishing machines that go against in the disclose and go underwater.

"Gather round, lads and lasses, hear round. You've been shanghaied aboard fit the last cruise of the Crimson Buccaneer, a long, big set ago in the limit, far Caribbean. Remember, in a pirate ship in pirate waters in a pirate world, ask no questions and believe at best what you see. No, believe half of what you be vigilant."
–Burt Lancaster

With tongue planted fast in cheek, "The Crimson Pirate" (1952) is song of those rare films that's able to blow not seriously poke fun at at the action/adventure genre whilst paying the highest tribute to it. Like "Raiders of the Confounded Ark" or the early Bonds, it works both as a movie rib and as a rollicking gracious peril at the same things.

Much of the film's success must be attributed to its main, Burt Lancaster. Here was a fellow who had "movie star" written all over him. Why don't they become movie stars like Burt Lancaster anymore? Handsome and athletic, he had a murgeon to all chiseled from marble and a beam that flashed so brightly the audience required shades. Nor was he merely an action hero in films like this Possibly man and "The Ardour and the Arrow"; he was an equally accomplished dramatic actor, nominated for four Academy Awards in "From Here to Eternity, "Elmer Gantry," "Birdman of Alcatraz," and "Atlantic City," winning for the sake of "Gantry." Lancaster lights up the wall as the flamboyant Captain Vallo, a.k.a. the Crimson Pirate.

The movie, of course, pokes seemly-natured fun at its famous predecessors, things like Doug Fairbanks's "The Black Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Sea Hawk" (1940). But as I imply, it's not just a Mel Brooks-variety, all-out spoof, filled with nothing but comedy. "The Crimson Pirate" works much more similar to the serious thrillers it emulates, exaggerating characters and events just enough along the way to heighten our sense of unreality; or as Lancaster says in the opening, "Believe half of what you associate with." The result is a strident stuff b merchandise time.

Supporting Lancaster in these hijinks is his old pal, Nick Cravat, from their days as a real-sustenance acrobatic team. Cravat plays Ojo, a taciturn who acts as a comic sidekick. Cravat wasn't positively soft-pedal; however, he often played one to hide his rather strong Advanced York highlight. The two actors coincidentally died the anyhow year, 1994. Odd. Anyhow, together Lancaster and Cravat perform most of their own stunts, and it's a pleasure to watch them do backwards somersaults off walls, swing across buildings, and level their fight scenes in the best swashbuckling style.

Also in the cast for this late eighteenth-century Caribbean spirit are Eva Bartok as the love interest, the beautiful Consuela, feisty daughter of "El Libre" (Frederick Leister). Her institute is the challenge leader of a band of peasants on the isle of Cobra vomit-provoking against the tyranny of the Sovereign. Impartial exactly which king is not in the least mentioned; Possibly man assumes it's the Monarch of Spain (it is the Caribbean, after all), but the colors and uniforms of the king are made purposely equivocal on the point. Then, there's Leslie Bradley as the villain of the piece, Baron Gruda, a seemly scoundrel in malignant mustache, whose construct of a good occasionally is having a prisoner flogged in a cell revealed behind a movable portrait in his living room. Assisting the Baron is his chief flunky, Christopher Lee as Joseph, an attaché. Amazingly, Lee is subdue doing this stock of junk improved than anyone else fifty years later as an evildoer in the most current "Star Wars" and "Lord of the Rings" episodes. Finally, there's James Hayter as Professor Elihu Judgement, an inventor of astonishing machines that go against in the disclose and flit underwater.

Erika Kohut is a piano teacher at the Vienna Conservatory noted music school in Vienna. In her early forties and single, she lives with her overprotective and controlling mother in a hermetically sealed world of love-shrink from and dependency, where there is no leeway for men. Her shafting life consists of voyeurism and masochistic self-injury. Abandoned and alienated, Erika finds solace by visiting sex shops and experimenting with masochism. Ata a recapitulation, she befriends Walter, a handsome callow man, whom she seduces and with whom she begins an illicit affair. As Erika slowly drifts closer to the brink of nervous disorder, she uses the take pleasure in-stricken Walter to explore her darkest sado-masochistic fantasies, which finally lead to her misfortune.

"It's a frothy romp played for
the fun of it, and when the silliness dies down the pic can easily be forgotten."

Reviewed by Dennis Schwartz

Director Susan Seidelman ("Desperately Seeking Susan")
presents a fluffy screwball comedy and private detective mystery story
much in the gender-breaking style of a Pedro Almodovar film, but with less
force and verve and trust in the characters presented. It is set in Barcelona,
Spain, the temporary location where the unattached, cynical and much travelled
grumpy American, Cassandra Reilly (Judy Davis), is eking out a living translating
a cheesy South American novel into English. The screenplay is by James
Myhre, from the novel by Barbara Wilson. The titular (Antonio) Gaudi is
the namesake of the nouveau architect who created many fine designs in
Barcelona and designed the ritzy plaza marvelously photographed in one
of the film's main scenes, which took place one afternoon.

Cassandra is frustrated because she lives alone and has no man in
her life, and has no permanent home because she is still upset over her
unhappy childhood in Kalamazoo. On top of that she's having trouble translating
the book and is vexed over the noise in her apartment building that comes
from an argument between her friend and landlady Carmen (Barranco) and
her hubby Paco, who is an Elvis wannabe. Her horde of screaming children,
whom the writer detests, add to her inability to concentrate when trying
to work on the novel. Also, she doesn't have enough dough to pay the back
rent and feels in the dumps about the way her unexciting life is going.
Arriving straight from San Francisco to spice up her dull life is the mysterious
femme fatale Frankie Stevens (Marcia Gay Harden), who claims to be a friend
of a friend and who is willing to pay her $3,000 for a couple of days work
of playing detective to locate her estranged husband Ben. She hasn't seen
him for two years but needs him to sign papers so as not to lose his inheritance,
which pays her bills. The plot is not airtight and far from logical, but
that can be excused because it's a screwball comedy and not a major drama.

The film is loaded with plot twists and ex-patriates who are eccentric,
as the plot line keeps changing in every scene and tries to have some fun
with the kooky characters and their foibles. Frankie turns out to be a
pre-operative transsexual, and her "husband" Ben turns out to be butch
lesbian Lili Taylor, who has traveled to Spain with their precocious daughter
Delilah and her live-in kooky 'new age' airhead girlfriend Juliette Lewis.
They are living in the pad of a bisexual San Francisco magician and wealthy
art patron named Hamilton Kincaid (Bowen), who adds mystery to the goings
on when further details of the changing plot is revealed.

It's a frothy romp played for the fun of it, and when the silliness
dies down the pic can easily be forgotten. But under Seidelman's capable
direction even though the film meanders from its 'nothing is as it seems'
theme, it still never gets completely lost. Davis works her acting magic
on such pifle and makes her world-weary traveller part have some pathos–though
the tidy ending was hard to swallow. Harden also excels as the lady in
a man's body trying to hang on to her wig, her feminine instincts and the
child she came to get.

There were a few lines I really got a kick out of, with my fave being
the one said by Harden as she observes Barcelona for the first time: "It's
so refreshing, even the children smoke here." I also liked one of Lewis'
lines: "Fuck the mind not the gender."

Why was "Nadine" made? Because Robert Benton wanted it made. Working from his own dewy-eyed script, Benton directs a '50s murder caper with all the dramatic, romantic and comic punch of "The Dukes of Hazzard." Jeff Bridges and Kim Basinger, as a Texas twosome caught up in big trouble, do their A- to force in gonzo goofiness. But, much as Robert De Niro and Meryl Streep in "Falling in Love," their enthusiasm adds up to a big nothing.

Basinger is Nadine Hightower, a hair-salon belle with a broad-as-the-prairie accent and a problem. A photographer has incriminating nudie shots of her. And when she goes to his studio to retrieve them, the photographer is knifed by a mysterious assailant. Panicked, she grabs a folder and bolts.

It's the wrong folder — it contains the local government survey plans for a proposed highway wanted desperately by a gang of bad guys (led by a goateed Rip Torn as "Buford Pope"). With the map, they can buy the land cheap and sell high (to the government). Nadine persuades estranged hubbie Vernon (Bridges) to take her back to the studio but they run into the Austin police. The Hightowers were planning a divorce; now they're running from the cops and the crooks.

Benton's strategy is to make these two realize, in the manner of "His Girl Friday," that they were made for each other. But Benton (who wrote "Kramer vs. Kramer" and directed "Places in the Heart") foreshadows this "surprise" discovery all over the place; that the characters don't realize it earlier makes them look like boobs. Nadine puts down Vernon's new girlfriend with undisguised bitchiness. She excuses herself to get ice and comes back in a slinky neglige'e. Vern takes every chance he can to compliment her. Gosh, and these guys are getting divorced?

Benton injects hijinks wherever he can. The Hightowers must traverse two buildings with a rickety ladder, contend with rattlesnakes, a conniving brother and a final shootout with Pope and his disciples. It all seems like a lot of trouble just to save a marriage. Or make a film.