Otello (1986)

Starring:PlÃ¡cido Domingo, Katia Ricciarelli, Justino DÃaz, Petra Malakova, Urbano Barberini, Massimo Foschi, Edwin Francis, Sergio Nicolai, Remo Remotti, Antonio Pierfederici, Ezio Di Cesare, John Macurdy, Constantin Zaharia, Edward Toumajian, Giannicola Pigliucci, Gabriella Borni, Daniela Merlo, Enzo Marino Bellanich, David A. Mann
Director: Franco Zeffirelli
Studio: MGM (Video & DVD)
Product Type: DVD

Editorial Review:
Amazon.com
This is not strictly Verdi's Otello; it is a fast-moving, hard-hitting film adaptation of the opera that omits some of the music (most notably the "Willow Song") to enhance the dramatic pace. With brilliant camera work, the "you-are-there" impact of film vs. a videotaped stage production, and outstanding performances from all the principals, it is also the Otello that you may find yourself replaying most frequently.

Amazon.com essential video

Ben-Hur scooped an unprecedented 11 Academy Awards® in 1959 and, unlike some later rivals, richly deserved every single one. This is epic filmmaking on a scale that had not been seen before and is unlikely ever to be seen again. But it's not just running time or a cast of thousands that makes an epic, it's the subject matter, and here the subject--Prince Judah Ben-Hur (Charlton Heston) and his estrangement from old Roman pal Messala (Stephen Boyd)--is rich, detailed, and sensitively handled. Director William Wyler, who had been a junior assistant on MGM's original silent version back in 1925, never sacrifices the human focus of the story in favor of spectacle, and is aided immeasurably by Miklos Rozsa's majestic musical score, arguably the greatest ever written for a Hollywood picture. At four hours it's a long haul (especially given some of the portentous dialogue), but all in all, Ben-Hur is a great movie, best seen on the biggest screen possible. --Mark Walker

Description

The numbers speak volumes: 100,000 costumes, 8,000 extras, 300 sets and a staggering budget in its day the largest in movie history. Ben-Hur's creators made it the best, the greatest Biblical-era epic ever. Charlton Heston brings a muscular physical and moral presence to the role of Judah Ben-Hur, a Jewish nobleman in Palestine whose heroic odyssey includes enslavement by the Romans, a bold escape from an embattled slave galley, vengeance against his tormentors during a furious arena chariot race and fateful encounters with Jesus Christ. Heston's charismatic performance brought him the Best Actor Oscar; the winner as 1959's Best Picture with the legendary William Wyler earning his third Best Director trophy, the film won a total 11 Academy Awards -- a tally unequaled until 1997's Titanic set sail.

DVD Features:
Audio Commentary:Commentary by Film Historian T. Gene Hatcher with Scene Specific Comments from Charlton Heston
Documentaries:New Documentary: Ben-Hur: The Epic That Changed Cinema - Current filmmakers such as Ridley Scott and George Lucas reflect on the importance and influence of the film 1994 Documentary: Ben-Hur: The Making of an Epic Hosted by Christopher Plummer Directed by William Wyler - 1986 Emmy Award-nominated documentary featuring the last interview with Wyler before his death
Featurette:Ben-Hur: A Journey Through Pictures - New audiovisual recreation of the film via stills, storyboards, sketches, music and dialogue
Other:The 1925 Feature-length Silent Version of Ben-Hur with a stereophonic orchestral score by composer Carl Davis. Vintage Newsreels Gallery Highlights from the 1960 Academy Awards Ceremony Theatrical Trailer Gallery
Outtakes:Screen Tests: Leslie Nielsen and Cesare Danova Leslie Nielsen and Yale Wexler George Baker and William Russel Haya Harareet Hair and Make-up Tests

Customer Reviews:

One of My Favorites.......2007-07-05

Charlton Heston did a superb job of playing the role of Judah Ben Hur. His portrayal of an aristocratic Jew who ends up being betrayed by one who had been a childhood friend really draws you into the emotions of one who seeks revenge, and then undergoes a dramatic conversion to Christ. How beautiful it is to see the effect of the gospel upon a person's life. One of my favorite scenes is where Judah Ben Hur is being force marched across the desert along with other prisoners who are bound to become galley slaves for the Roman Navy-- a literal death sentence. You can see on his face that he has all but given up hope. He finally comes into a small village where he sees the Roman soldiers and some of his fellow prisoners being able to obtain water. However, when water is offered to him a soldier keeps him from being able to drink-- and then you see Heston's face convey a look of total despair. He almost looks like he is about to go mad, and then you see someone take a dipper of water and put it to his mouth. But then the soldier who just a few moments before had refused Ben Hur any water sees that someone is giving him water; he then begins to walk over in a threatening manner toward the good person, but then the person stands up to face the soldier. All you see is the back of the person who has helped Ben Hur, but you know that He is looking into the approaching soldier's face-- the soldier halts and you see his face take on a look of shame, and then he turns away. Of course, the person who helps Ben Hur is the Lord Jesus Christ. The film is excellent. One thing I wish is that the movie had adapted from the book the ending part about Ben Hur's using his immense wealth for the cause of spreading the gospel of Jesus Christ. Watch the film.

Two great films on this dvd collection........2007-06-25

The second and more recent one from 1959 is really slightly better as it looks a little more authentic than the '25 version (see my amapedia review for more on the '59 version). By more authentic I mean that in one scene in the '25 version a lady is romancing a man and she has a ridiculously 1920's hairstyle (probably to appeal to contemporary audiences). This is all that takes away from an otherwise brilliantly done silent film starring Ramon Navarro as Judah Ben-Hur. The scenes where Judah is taken away from his mother and sister by the evil Messala (Francis X. Bushman) are poignant and memeorable. I understand part of this movie was shot in Italy. Very good use of Christ as a (supremeley important) supporting character in this film and nice scenes early on of the lady playing the Virgin Mary as well.

Ben-Hur (1959).......2007-06-25

One of MGM's finest widescreen spectacles, involving thousands of extras, over 300 sets (including a life-size replica of a Roman hippodrome) and a cadre of stunt coordinators, this massive production nearly bankrupted the studio when first produced. But the payoff was equally grand: Heston's Oscar-winning performance and a hefty box-office gross validated the costs of operating on such a vast canvas. It is also epic filmmaking at its best, featuring a mesmerizing escape at sea and the most thrilling, heart-poundingly authentic chariot race ever seen on film--at 20 minutes, no less! Majestic in scale, yet sensitive in its portrayal of a vengeful man touched by his encounters with Christ, "Ben-Hur" is a monumental entertainment directed with unwavering commitment and faultless taste by old pro William Wyler.

Ben- Hur.......2007-06-13

This is a great movie. Everyone should enjoy this classic.

Ben-Hur.......2007-05-19

Yet another childhood classic. wonderful actors and actresses. Very exciting and a bit emotional.

Verdi - Otello / Domingo, Fleming, Morris, Croft, Levine, Moshinsky, Metropolitan Opera

Average customer rating:

Excelente Otello en DVD
TOP NOTCH IN ALL WAYS
Met's DVD Recording of Verdi's Otello Best Opera Recording Ever
Review of Otello Opera Production on DVD
The cream of Domingo on DVD as Otello

Verdi - Otello / Domingo, Fleming, Morris, Croft, Levine, Moshinsky, Metropolitan Opera
Starring: Plácido Domingo , Renée Fleming , James Morris (IX) , Jane Bunnell , and Richard Croft (II)
Director: Brian Large
Manufacturer: Deutsche Grammophon
ProductGroup: DVD
Binding: DVD

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Verdi - Rigoletto / Domingo, MacNeil, Cotrubas, Diaz, Levine, Metropolitan Opera
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ASIN: B00012AST0
Release Date: 2004-04-13

Customer Reviews:

Excelente Otello en DVD.......2007-02-14

La versión discográfica de Otello en DVD, del Metropolitan Opera de NYC, puede considerarse como una de las más válidas y completas disponibles en video. Las razones son múltiples, y paso a enumerar cada una de ellas; en primer lugar dispone del más importante Otello de los últimos veinticinco años, es decir, Plácido Domingo. El gran tenor español logra una de sus más completas interpretaciones de Otello. Para el año de 1996, año de grabación de este DVD, Plácido Domingo se encontraba en excelentes condiciones vocales, a lo que debe incluírsele una profundización del personaje, que Domingo no había logrado en las grabaciones de los ochenta con Levine y Maazel. El personaje que muestra Domingo en este DVD, es mas completo, con momentos de furia como el "Esultate", pero también evidenciando un falso autocontrol en todo el segundo acto, no estallando en cólera con anticipación, como conviene a un personaje sumamente inseguro y acomplejado como lo es el de Otello. Mientras que en el tercer acto, resulta muy expresivo en el "Dio mi potevi..." y amenazante en todo el dúo con Desdemona. Por otro lado, Renée Fleming como Desdemona es, junto con Barbara Frittoli, la mejor opción en la actualidad para este personaje verdiano. Su voz es de muy bello timbre, aterciopelado y con un Médium importante. Su Desdemona no es únicamente un personaje angelical a ultranza, sin nervio alguno, que si bien no desecha ese lado dulce de Desdemona, resalta también de manera muy original la reacción airada y desafiante del dúo del tercer acto con Otello. Mientras que su último acto no está cantado solamente con mucha musicalidad y gran técnica, si no de manera muy expresiva. James Morris como Jago, es todo un acontecimiento, su voz de gran potencia y belleza, logra resaltar muy bien en los principales momentos de la obra. Su Jago es malévolo pero no un ogro de fábula, es más bien un personaje que en apariencia es muy bueno, pero que en la realidad es un manipulador y detestable personaje. Este es el verdadero enfoque que se debe proporcionar al rol de Jago, si no, como se las arreglaría para engañar con sus intrigas a Otello, si resultara tan evidentemente malvado. Su interpretación del "Sogno" del segundo acto, cantado casi completamente en "mezza voce" como lo indica Verdi en la partitura, es un acontecimiento. Un gran Wotan, cantando Verdi. La dirección de Levine es increíblemente buena, resalta de manera encomiable, pero sin excesos, los muchos momentos impresionantes de la partitura, pero también logra dar realce especial a todos los momentos dulces e íntimos de los que la partitura está llena. Entre los comprimarios, Richard Croft es un buen Cassio, de voz dulce y agradable, y de una presencia física perfecta para el rol, aunque su voz de tendencia dulce y lírica sufre un poco en lo vasta que es la Sala del Metropolitan Opera House. Alexander Anisimov resultó ser casi inexistente en el personaje de Ludovico, su voz es realmente poco incisiva e imponente. La dirección escénica de Elliah Moshinsky resultó ser excelente, los movimientos de los cantantes sobre el escenario fueron todos muy logrados, mereciendo una mención aparte el magnífico tercer acto, de los más logrados de los que haya visto en Teatro. Las escenografías de Michael Yeargan son colosales e imponentes, con un uso del color impactante. De hecho los enormes murales del tercer acto, inspirados en el pintor renacentista "Il Veronese" son realmente maravillosos. El vestuario diseñado por Peter Hall es estéticamente muy válido y de gran calidad. Por lo que un Otello de esta calidad en todas sus componentes, no es algo fácil de encontrar. La versión del Covent Garden, con Domingo, Te Kanawa y Leiferkus, bajo la dirección de Solti, cuenta con una muy buena dirección, pero una puesta en escena menos lucida, y una soprano y barítono menos relevantes desde el punto de vista vocal. La versión de Vickers, Freni y Glossop, dirigida por Karajan, tiene una puesta en escena mediocre y un muy deficiente uso de las cámaras, así como un Jago no solo mediocre desde el punto vocal, sino también desde el punto de vista del fraseo. Es necesario reconocer, de todos modos, que desde el punto de vista musical, la orquesta de Karajan es fabulosa y el dúo Vickers-Freni es realmente magnífico (prácticamente ideal). La versión de la Scala de Milano, bajo la dirección de Muti, cuenta con la dirección orquestal mas impactante que se pueda imaginar, con una excelente Desdemona en Barbara Frittoli, y un válido Jago en Leo Nucci, pero también con una puesta en escena mucho mas estática que la del Metropolitan y un Domingo ya no tan fresco vocalmente, aunque siempre intenso como personaje. Por lo que la versión en DVD del Metropolitan Opera House es sin lugar a dudas la más completa, sin tener eslabones débiles

TOP NOTCH IN ALL WAYS.......2006-11-18

Back in the sixties I attended the Met many times, but never heard anything like this. In addition to a fantastic performance this is one of a very few DVD opera disks that has an audiophile quality LPCM stereo track with very wide dynamic range. If this disk distorts, it is your player, amplifier or speakers, not the DVD. Sounds amazing on studio quality headphones, such as AKG K 240 studio.

Brian Large directs the video in a way that really gives a feeling for what you would see at a live performance. The Met is huge, and I am repeatedly amazed at the realistic views Brian Large is able to transfer to the small screen.

Met's DVD Recording of Verdi's Otello Best Opera Recording Ever.......2006-11-05

The Metropolitan Opera's recording of Verdi's OTELLO not only is loaded with a first class, super star cast, but the filming, art direction, staging is equally balanced and one, if not THE best recordings ever. Domingo, Fleming, Morris and Croft under the superb direction of James Levine---well, who could ask for anything better---it does not exist. The dramatic camera work during the passionate, anguished scenes puts the beholder right in the midst of the tragedy. I have watched this DVD recording many times and always become totally immersed and moved by it.

Review of Otello Opera Production on DVD.......2006-07-05

Verdi's music is powerful--his best opera in my opinion. Domingo is THE Otello. He sets the standard for all others who sing this role both in terms of musicianship and drama. I can say virtually the same for Fleming. The staging and musicianship are both outstanding.

The cream of Domingo on DVD as Otello.......2006-05-04

I've seen three DVD's featuring Placido Domingo in the title role: 1992 (Covent Garden), 1995 (The Met), and 2001 (La Scala). They are all high quality and worth owning but, in my opinion, this Met production has the best Desdemona (Renee Fleming), the best Iago (James Morris), and a stunning performance by Placido Domingo.

Some comparisons. Domingo's voice is clearest and most effortless in the Covent Garden production. But his understanding of the role deepens dramatically between 1992 and 1995. By 2001, he embodies Otello, but his voice is not as full-bodied and is strained in places. His overall best performance is in this 1995 production. This conclusion is not just a compromise between when he's youngest in voice (1992) and most experienced in acting (2001). In Acts III and IV of The Met production, it feels as if Domingo is no longer performing; he becomes Otello. Words are inadequate to describe him here; it simply has to be experienced. His work in Otello's Act III soliloquy, the brief "Dio! Mi potevi," is one of the finest two minutes I've seen in opera. And he is simply spellbinding in Act IV, as he crawls dying toward Desdemona, crying out for a kiss while the "kiss theme" from their Act I duet plays.

The three Desdemona's are Kiri Te Kanawa (1992 Covent Garden), Renee Fleming (1995 The Met), and Barbara Frittoli (2001 La Scala). All excel in different ways. Desdemona is a challenge to play. It's hard to convince an audience that she would so submissively accept the unjust fate she knows is about to befall her. Perhaps her love for Otello is so strong, she believes it will eventually bring him to his senses. Perhaps she's in a steadily increasing state of shock over his irrational behavior, shock that prevents her from acting. Perhaps she sees no choice but to accept whatever consequence follows from her bold move of having left her homeland to follow the Moor. These are but three possible approaches to the role.

For purity of voice and lyrical quality, Te Kanawa (Covent Garden) is unsurpassed, but her acting is weak. Some might call her portrayal of Desdemona restrained; I find it too wooden. But it's worth seeing Te Kanawa to hear the purity of her voice, especially in Act IV's "Ave Maria" prayer. Frittoli (La Scala) has a beautiful dark and dusky voice, and her portrayal of Desdemona as young and naive is moving.

But Fleming's Met performance surpasses the other two. Her voice is more expressive and she's a better actress. In Otello and Desdemona's Act I duet, "Gia nella notte densa," I can hardly breathe when Fleming and Domingo get to the kiss. The tenderness between them is palpable. In their duet and her "first tears" solo at the beginning of Act III, Fleming's combination of incomprehension, pain, and fear is heartrending. In Act IV, Fleming draws us to her sadly but quietly in the Willow Song only to stun us with her cry of terror at the end: "Ah! Emilia addio, Emilia, addio." I've read that this one short cry must communicate all the passion of an entire song. That's a tall order and, in my opinion, only Fleming pulls it off.

Frittoli (La Scala) plays Desdemona as in an increasing state of shock. It's believable and effective, but Fleming's performance is deeper because it's multi-layered. To flesh out the character, I think Fleming incorporates all three of the approaches I described above, making Desdemona a more complex woman.

A performer can take several approaches to Iago. There is no subtlety in Sergei Leiferkus' approach (Covent Garden). He exudes slimy evil intent, looking crazed at times. I think there's also a sexual component to his characterization (whether aimed at Desdemona or Otello, I couldn't say). Leo Nucci (La Scala) takes a more traditional approach to Iago, playing him as a nasty schemer. But once again, I prefer The Met production's James Morris. His Iago is the most frightening to me because he's seemingly so personable around Otello. His smile and his smooth baritone voice run chills down my spine.

I prefer The Met DVD over the others, but you can't go wrong with any of the three. Bottom line, I recommend you don't miss Domingo as Otello in this powerful Verdi opera.

Average customer rating:

3 *** for Legend's 2007 DVD, 5 ***** for Pasolini's film
Bible Movie Classic
THE ONE AND THE ONLY ESSENTIAL EVANGELICAL FILM
Humble Authenticity
The Gospel According to St. Matthew

The Gospel According to St. Matthew
Starring: Enrique Irazoqui , Margherita Caruso , Susanna Pasolini , Marcello Morante , and Mario Socrate
Director: Pier Paolo Pasolini
Manufacturer: Legend
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The Gospel of John
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ASIN: B000LP5D5G
Release Date: 2007-03-27

Amazon.com

Released in 1964, The Gospel According to St. Matthew marks an important shift away from the gritty urban realism of Pasolini's earlier films towards the visionary imagery of his later work. A committed but far from conformist Marxist, Pasolini took a powerful and immediate approach, with no false piety or sentimentality. Employing a cast drawn largely from the peasantry of Southern Italy, where the film was shot, the action has the feel of a mystery play reenacted for the camera. Enrique Irazoqui's Christ is part folk hero, part political agitator, but always pursuing his destiny with unswerving conviction. The disciples make for vivid contrasts in facial expression, while Susanna Pasolini (mother of) is unforgettable as Mary, distraught at the Crucifixion. The recourse to handheld cameras and zoom sequences is well ahead of its time, while the almost jump-cut editing and diverse soundtrack--including Bach, Mozart and the Missa Luba--enhance the sense of action being experienced as it happens. A classic of post-war cinema which has lost none of its urgent humanity. --Richard Whitehouse

Description

(Faith) Along a rocky, barren coastline, Jesus begins teaching, primarily using parables. He comes to bring a sword, not peace, he says. He moves from place to place near the Sea of Galilee, sometimes attracting a multitude, sometimes being driven away and often attracting the attention of the Pharisees, the chief priests, and elders. They conspire to have him arrested, beaten, tried, and crucified, just as he prophesied. After he dies, he appears to his disciples and gives them final instructions.

Customer Reviews:

3 *** for Legend's 2007 DVD, 5 ***** for Pasolini's film.......2007-05-14

The information Legend provides on the back cover of the DVD is confusing/misleading/mistaken...

Legend's DVD contains two versions of The Gospel According to St. Matthew ...

Version #1

- Colorized
- Dubbed in English
- No Subtitles
- Approx 90 minutes (not the complete film)
- Anamorphic widescreen
- Playable from the Main Menu

Version #2

- Black and white
- in Italian
- With English subtitles that are always on
- Approx 137 minutes (the complete film)
- Widescreen, but not anamorphic
- Playable from Special Features
- Pasolini's great film speaks for itself
- Thank you Legend for making a watchable, complete version of the film available

Bible Movie Classic.......2007-05-12

A lesser known movie , but ranks up there with the CLASSICS.

THE ONE AND THE ONLY ESSENTIAL EVANGELICAL FILM.......2007-04-02

I now have both the English overdubbed version and the English subtitled version. As far as I can tell there is not available here an Italian only version made from an original master restored with the skill and grace of Criterion, nor a version which lets you choose to cancel the subtitles or change languages, and this is the only gripe about this great cinematic presentation of the first Gospel (first in the Canon, not in the chronology).

I must therefore choose between a version in which scenes seem to have been cut and the speed turned up and English imposed, or a more authentic version seen through the spider's veil of white English letters across the entire bottom half of the screen, blocking the gripping visuals and the profoundly sincere faces of the nonprofessional actors.

Nevertheless, this film remains in every way the one cinematic production of the Gospels we ever need watch, and need watch again. It is hard to believe it is over forty years since my father first brought me to see this movie at a public theatre, and I find it now as fresh and compelling and communicative in a near sacramental way as then. It is a true epiphany and a revelation.

The Virgin Mary is astonishingly authentic and appropriate. The director no doubt heard Saint Bernadette Soubirous's observation that every representation of the Virgin which she saw in painting or in sculpture was far too old.

Here the young Mary appears fifteen or younger, and has a face which speaks volumes with one gaze, or silent squint. This is truly the best Mary ever filmed, and the most memorable, and she actually fuels earnest and true devotion, unlike most any other film or staged photo, especially Zefarelli`s (sp.). All else looks like Monty Python in artificiality after contemplating this pure young Virgin Mary.

For this reason alone may we thank Pasolini. Within this young Mary we see a woman capable of hearing the Annunciation with more understanding, trust and courage than would be possible in any other human soul, a Mary capable of the valiant Visitation, and a Mary capable of that greatest revolutionary prayer, the Magnificat, long chanted in traditional monastic choirs long before the Hail Mary was ever pieced together. She shows great courage despite her uncertainty at the Epiphany. And she conveys this all within this film without a spoken word.

Of course the older Mary at the Crucifixion and the Resurrection was played equally effectively by Pasolini's own mother, sharing with us fully her agony, the sword which pierced her heart, and her ultimate joy and hope at the resurrection.

There is so much which is great about this movie and so far I have mentioned only one character. Watch Peter as he goes out to weep bitterly after the triple denial, or John, the Beloved Apostle. Saint John the Baptist, the only Saint to predecease Jesus, is so excellent in a modern, prophetic, verbal, preaching, intellectual and professional manner that he seems from a different movie, or time, as he was. Clearly he has the intellectual courage to confront Herod and any other earthly power. Saint Joseph is quietly amazing, as he hears the advice of the Angel and does not put Mary aside quietly but trusts in Faith and takes on his great responsibility. The Angel is absolutely amazing, authentic, awe-inspiring, confidence inspiring. Please see this film.

Herod also gets his job done as a corrupt ruler who rots in his own greed and corruption and violence. The scene of deceiving the Magi, his death among his court, and the rest are very well done. The scene of his soldiers slaughtering all the young and baby boys in a desparate attempt to annihilate the Messiah must call to mind the insane and stupid violence against helpless children of our present time, yet these scenes might be easily overlooked in our contemplation of the many uplifting scenes.

Jesus is played strongly and with authority by a young university student from Madrid. The scenes of the temptation in the desert and the Sermon on the Mount demand and reward repeated viewing, as well of course as the Passion, which Gibson could not make more effective with buckets of fake blood. This Passion in Pasolini truly wrenches your heart in ways which Gibson could not.

This film also contains as soundtrack the only remaining recording of the authentic Missa Luba, and also interesting insertions of Delta blues, one Robert Johnson style groans over slide giutar and the other pure Gospel, the great hymn and lamentation "Sometimes I feel like a Motherless Child" sung low and slow and mournfully, but the meaning of whose English lyrics might distract us from the purely musical intent of the director. Also included are snippets of Bach and Mozart, which seem more present in the Italian version.

Sorry for the long discussion of this important film. I encourage you to get both of these versions until Criterion can piece together a disk of their usual high and comprehensive quality wih all the options, and we can finally meditate the Gospel news in Italian without subtitles in a complete and original print. In the meantime we might skip the colorized version, which I have not seen and see no need to.

Keep this movie in your machine in heavy rotation, not just now in Holy Week. Please notice the very affectionate, glowing, warm and familiar dedication to the greatest and penultimate Italian Pope John XXIII, who had recently passed when this movie was made. The director's dedication sincerely homages his Holiness.

Humble Authenticity.......2007-03-19

`The Gospel According to Matthew' is a humble, bare-bones film that accentuates authenticity. Using rugged terrain and an intricate, stone village, famed Italian director Pasolini makes the scenes seem more real than any movie up to 'The Passion of the Christ'. Without any name actors, the scenes envelop a simplicity that is the movie's hallmark. This movie's Jesus is a sterner, more direct rendering than any in movie memory. While I may prefer subtitle's to English overdubs, the movie is at least easier to take in. However, the emotional appeal is lessened by their implementation of this method. Indeed, the emotional range, while deliberate at key times, is often wooden. Many instances people just stare, but then again they may be dumbstruck by Jesus. Also, better judgment could have been used. For instance, during Jesus's trial when there should have been more close ups. Nevertheless, Pasolini does get to the heart of the message. With scripture all but entirely in the script, one can hardly criticize the interpretations. If there is an accent mark, he frequently comes up with children, a nice touch. Unvarnished, 'The Gospel' doesn't have the glory of most modern films, but, even with the technical shortcomings, it is basic like scripture itself.

The Gospel According to St. Matthew.......2007-03-15

The Gospel According to St. Matthew directed by Pier Paolo Pasolini, filmed in 1964, is the best rendition of the life of our Lord and Savior, Jesus Christ, placed on film. I wholeheartedly endorse the comments made in the March 14, 2004 review of the noted film critic, Roger Ebert, recommend this movie to believers and non-believers alike.

Average customer rating:

the lion roars
Stoyanova steals the show!
A SUPERB PERFORMANCE OF OTELLO IN EVERY WAY
Wonderful!
Cura scores a triumph at the Liceu

Verdi - Otello
Starring: Jose Cura , Krassimira Stoyanova , Lado Ataneli , Vittorio Grigolo , and Ketevan Kemoklidze
Director: Willy Decker
Manufacturer: Opus Arte
ProductGroup: DVD
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ASIN: B000LSBMV2
Release Date: 2007-02-27

Customer Reviews:

the lion roars.......2007-06-08

Incredible performance from Cura and his Desdemona. The singing and acting are magnificent. Some will not like the Decker staging but I enjoyed Traviata and this production as well. Cura does sound like a tenorbaritone but that is not a problem for me. I have the Solti Otello with Domingo and the Levine Domingo; this an excellent addition to the video catelog

Stoyanova steals the show!.......2007-05-28

A generally fine modern Otello, drmatically convincing and well sung. Stoyanova, a new discovery for me, is in vocal league of her own among this bunch. Cura throws himself into the role, but shows some vocal fatigue and forced sound. Ataneli's Iago and other supporting roles are less well done.

A SUPERB PERFORMANCE OF OTELLO IN EVERY WAY.......2007-05-07

FIRSTLY I MUST CONFESS TO NOT BEING A GREAT FAN OF JOSE CURA, HOWEVER THIS LIVE PRODUCTION OF VERDI'S MASTERPIECE HAS CONVERTED ME. I ALWAYS THOUGHT MARIO DEL MONACO WAS THE GREATEST OTELLO FOLLOWED BY PLACIDO DOMINGO HOWEVER JOSE CURA IS NOW IN THIS SAME LEVEL OF EXCELLENCE. HE SINGS LIKE A MAN POSSESSED AND IS GIVEN FINE SUPPORT BY HIS DESDEMONA KRASSINIRA STOYANOVA AND JAGO LADO ATANELI. THIS LIVE RECORDING FROM THE GRAN TEATRE DEL LICEU IN BARCELONA IS OUTSTANDING AND OPTUS ARTE ARE TO CONGRATULATED IN THE FINE PRESENTATION OF THIS TWO DVD SET - DON'T BE PUT OFF BY NOT RECOGNISING THE NAMES OF THE SOPRANO AND BARITONE AS THEY ARE IN THE SAME LEAGUE OF A VERY YOUNG RENTATA TEBALDI AND ETTORE BASTIANINI AND I FEEL IF BOTH CONTINUE IN THIS LEAVE OF EXCELLENCE THEY WILL SOON BE HOUSEHOLD NAMES.

Wonderful!.......2007-03-20

This is a wonderful DVD. I highly recommend it! If you like music at it's best than you will love this. I have watched it over and over since it arrived. Enjoy!

Cura scores a triumph at the Liceu.......2007-02-14

Another Willy Decker show..........again, I am not phased by the minimalistic production, especially after watching the short documentary that form part of the bonus features. Like the 2005 Salzburg Traviata, this Liceu Otello will have its die-hard fans and its critics. As far as I am concerned, the 3 principals are in top form, with Cura providing one of his strongest interpretations in recent years. Vocally, he has a few dry spots, however, his acting and intense portrayl make this a production to treasure. A triumph all round! However, I think that this opera could have been fitted onto a single disc, as the bonus features are not that substantial.

Average customer rating:

Placido Domingo is the definitive Othello of this generation
My first and favorite Otello
A good film totally ruined by the Director.
Great Period....And It's A Movie After All.......
Wrong transfer speed is set, but otherwise a beautiful film

Otello (1986)
Starring: Plácido Domingo , Katia Ricciarelli , Justino Díaz , Petra Malakova , and Urbano Barberini
Director: Franco Zeffirelli
Manufacturer: MGM (Video & DVD)
ProductGroup: DVD
Binding: DVD

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ASIN: B00007KQ9Y
Release Date: 2003-03-04

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This is not strictly Verdi's Otello; it is a fast-moving, hard-hitting film adaptation of the opera that omits some of the music (most notably the "Willow Song") to enhance the dramatic pace. With brilliant camera work, the "you-are-there" impact of film vs. a videotaped stage production, and outstanding performances from all the principals, it is also the Otello that you may find yourself replaying most frequently.

Description

Legendary Italian director Franco Zeffirelli (Romeo and Juliet) and renowned tenor Placido Domingo unite their mighty talents for this lavish production of composer Giuseppe Verdi's classic opera based on Shakespeare's timeless, tragic masterpiece Othello. Victorious general Otello (Domingo) returns in triumph to his adopted city of Venice after vanquishing its foes at sea. But noteveryone is poised to give him a hero's welcome. Even as his beautiful wife Desdemona (Katia Ricciarelli) lavishes him with affection, Iago (Justino Diaz), a disgruntled ensign, plots his downfall. And when Iago uses Otello's own jealous nature against him, he drives a wedge between husband and wife with devastating consequences!

Customer Reviews:

Placido Domingo is the definitive Othello of this generation.......2006-12-31

I could watch Placido Domingo sing Othello a thousand times and not get tired of it. This production is no exception. I have three of his performances on DVD and on each he finds a new aspect of this character to portray. He is a great artist.

My first and favorite Otello.......2006-08-05

First things first, I love Katia Ricciarelli and Placido Domingo. They are my two favorite opera singers ever. That being said, I can't say anything bad about them!!

Zeffirelli did a brilliant job with this movie. Everything was absolutely beautiful!

Diaz was a creepy, evil, and great Iago. He's probably one of the best interpreters, in my opinion. Domingo, what can I say? He's the king of all Otello's! It's like Verdi wrote Otello for Domingo! You can not find anyone better. Ricciarelli... I have one thing to say: Try to find a better Desdemona, oh wait.. YOU CAN'T!! I cried the entire Willow Song and Ave Maria. I knew what was coming and I couldn't stop crying. Ricciarelli was GLORIOUS and is, in my opinion, the best Desdemona (especially with Domingo as Otello.)

The rest of the cast was wonderful and props to the costume and make up people! Everyone looked stunning.

I am in love with Otello! =)

A good film totally ruined by the Director........2006-03-22

This film is not for Opera funs especially for connoisseurs of Verdi's Otello. Franco Zeffirelli simply presents his own version of the Opera and NOT VERDI'S. The film starts brilliantly with Otello's ship in the high seas in a most spectacular storm. Problems begin as soon as Otello lands in Cyprus. (Cyprus by the way and not Venice! as mentioned at the back of the DVD by some inexcusably ignorant person). Music from a ballet score that Verdi had written for Paris emerges instead of the expected chorus. The rest of the act is fine except for the fact that Otello points to the stars (the Pleiades) at Desdemona inside his bedroom (where she can see no stars) and two minutes later he takes Desdemona on the harbour for a walk (where she could see the stars) but it is later on the score, so the point is missed. The problems really start from act 2. After Iago's credo, which by the way is very well done, Zeffirelli cuts the famous duet between Otello and Iago (I like that not!) and then alters the sequence of the music in a most indescribable way. From there on we are watching a version of the Opera by Zeffirelli and not Verdi. I bought the Opera for Verdi, thank you very much. No wonder that the great conductor Carlos Kleiber who led the same principals at La Scala, Covent Garden and the Metropolitan Opera, refused to be associated with this film.
Domingo was at the time, at the height of his vocal powers and the Otello of the late 20th century. He may not match vocally people like Del Monaco, Martinelli, Zanatello or Tamagnio, but these were singers of the past. Only Del Monaco has a visual record of his performance of Otello in an old black & white 50's film of the opera, with poor visual quality, but with a splendid voice. Diaz is good as Iago, but not excellent and Ricciarelli, adequate but not memorable. As for Lorin Maazel, he is an extremely poor substitute for Carlos Kleiber.
A great pity, for this had the potential to be a great film of Verdi's finest Opera. The performance with Domingo from the Metropolitan Opera is far preferable. His most recent from La Scala, wonderfully conducted by Muti, has a rather aged Domingo and very bad sets. If you can endure the bad quality off the Del Monaco film version, conducted by Toulio Serafin, get it before it disappears from the catalogue.

Great Period....And It's A Movie After All..............2005-03-21

Here's the bottom line: Zefferelli made the lengthy Verdi opera into a 2 hour mainstream movie. It will always be more a movie than a traditional opera. A stage version can run up to 3 hours and in the case of Wagner's Gotterdammerung 6 hrs. A movie is limited in time. Zefferelli' intentions are noble. He wishes to get audiences turned on to opera, through the seductive medium of visual cinematography and powerful Oscar-worthy drama. The omissions in this film do not minimize the plot and the spirit of the work is never sacrificed. Even Shakespeare himself would be proud of this version. Think of it as a highlights of Verdi's opera, too. Do we really need Desdemona's pretty little "Willow Song" ? Its omission does not take away from the power of the drama. And so what if there is new additional dance music. It's appropriate for the feast scenes. And the Overture during the closing credits is nothing to fear. From the opening scene of the sea storm, to the doubts of seeds planted by interludes between Cassio and Desdemona, to the lower levels of the castle where Iago plots and rages against God, to the sumptuous feasts, to the grim finale, this is the best Otello ever made.

Placido Domingo was the successor of Mario Del Monaco who in the 50's made the role his own. Domingo may not have the glass-shattering, roofshaking power of a Del Monaco or Pavoratti, but he doesn't need it. His integrity as a performer and his rich, flexible voice makes him the best Otello to ever grace the stage. He performed the role numerous times, and there are plenty of recording albums. He has nailed the role of Otello more than any other tenor before or after him. He is a majestic Moor, a roaring lion of jealousy and fierce passions, while being a romantic, tragic hero straight out of Shakespeare. Lawrence Olivier once said he performed Othello better than he did "And he can sing too!" he was heard to remark. For me, the best Otello would have to be a black tenor, not in big supply in the opera world. To portray the Moor, most white/European tenors have had to wear heavy body make up to look black.

Katia Ricciarelli and Justino Diaz sing the roles of Desdemona and Iago. Urbano Barberini sings Cassio. The relationship between Desdemona and Cassio is designed to look sexual, so as to make us believe that perhaps there is some truth to Iago's story. Cassio does have feelings for Desdemona, having even lost interest in a current girlfriend, even having sexual dreams about Desdemona. But while Desdemona and Cassio never engaged in sex, Iago used the fact that the feelings were probably in there, even if repressed, to provoke the jealousy of Otello and to ruin him for good. Ricciarelli as the tragic Desdemona is radiant, with a dramatic, high, lyric and sweet but powerful voice. She plays the wronged heroine so well that we feel her desperation, her frustrations, her sufferings so keenly, emitting from voice to physical gestures to our own hearts. Justino Diaz may be the weakest in the cast, but not in his vocal abilities. As a bass/baritone he is pure gold. But he is not acting as great as Domingo and Ricciarelli. But he has his moments, especially in his blasphemous "Credo" scene, in which he mocks God and praises the evil in man in front of the Cross. His Oath Duet with Domingo is also thrilling. His laughter, so demonic and grandiose, further enhances his villain character development. But I do wish Samuel Ramey, who is more of an actor than Diaz (purely a singer) had been cast in the role in this movie. Certainly Ramey was at his height in the 80's. But we can't have perfection. Watch this movie...the classic tale, an opera about passions, jealousy and murder.

Wrong transfer speed is set, but otherwise a beautiful film.......2003-10-11

as soon as I played this DVD, I knew something was terribly wrong. after comparing it to a few other recordings, I found out what: this film has been set at the wrong transfer speed, and sounds either a half-tone, or even a whole-tone, lower than it should be. so Domingo sounds like a baritone, Diaz like a bass, and Ricciarelli like a mezzo.

visually, however, it is pure Zefferelli; absolutely amazing. the camera work is letter-perfect. And despite the transfer speed, the musical performance is still wonderful, with Domingo sounding at his best. Diaz is a fantastic singer and actor, much more convincing than Milnes ever was (sorry, Milnes fans); Ricciarelli sings beautifully and looks stunning. The supporting roles, chorus, and orchestra are excellent.

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Customer Reviews:

3 *** for Legend's 2007 DVD, 5 ***** for Pasolini's film.......2007-05-14

Bible Movie Classic.......2007-05-12

A lesser known movie , but ranks up there with the CLASSICS.

THE ONE AND THE ONLY ESSENTIAL EVANGELICAL FILM.......2007-04-02

Humble Authenticity.......2007-03-19

The Gospel According to St. Matthew.......2007-03-15

Average customer rating:

3 *** for Legend's 2007 DVD, 5 ***** for Pasolini's film
Bible Movie Classic
THE ONE AND THE ONLY ESSENTIAL EVANGELICAL FILM
Humble Authenticity
The Gospel According to St. Matthew

The Gospel According to Saint Matthew
Starring: Enrique Irazoqui , Margherita Caruso , Susanna Pasolini , Marcello Morante , and Mario Socrate
Director: Pier Paolo Pasolini
Manufacturer: Brentwood Home Video
ProductGroup: DVD
Binding: DVD

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ASIN: B00062IZC2
Release Date: 2004-10-12

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Customer Reviews:

3 *** for Legend's 2007 DVD, 5 ***** for Pasolini's film.......2007-05-14

The information Legend provides on the back cover of the DVD is c