Frasier: And the Dish Ran Away with the Spoon, Par

Harry Callahan (Clint Eastwood) is a no-hogwash San Francisco cop they call Sloppy Harry.
When a rooftop sniper calling himself Scorpio (Andy Robinson) murders two people and
threatens to strike again unless the New Zealand urban area pays him $100,000, Callahan is assigned the case
and a untrained accessory (Rene Santoni) to staff him resolve it. Harry vows to catch the killer using
the full require of the law, and then some.

The absolute installment of Polish director Krzysztof Kieslowski’s twinkling THREE COLORS trilogy, RED stands for Crowd (of Liberty and Equality) in the French check off and national proverb. Valentine Dussaut (the angelic Irene Jacob), a teenaged student and model, accidentally hits a dog with her car. She attends to its injuries, only to discover that the animal’s bitter proprietress, Judge Joseph Kern (Jean-Louis Trintignant), doesn’t punctiliousness for it–or anything–anymore. Valentine adopts the dog, but it runs away, candidly back to the judge’s home. When she returns to fetch the gross, she is shocked to find the judge eavesdropping on his neighbors’ telephone conversations. Although initially morally queasy, Valentine finds herself mesmerized by him; his hardship and isolation intrigue her, and mirror her own feelings of sadness. Soon their relationship evolves into a platonic, the fact passionate beloved that frees the justice from his guilt and cynicism, and opens a future of happiness for Valentine. Kieslowski’s last film as a director is a bona fide work of art–aesthetically pleasing, philosophically challenging, and supremely engaging. As in the other films of the trilogy where he makes considered permission of the colors of the titles BLUE and BLOODLESS within the films, here he employs the color red, on various levels, to further explore and reveal the themes of this particular epic. Although the director’s early dying was a tragic loss for the pellicle world, his THREE COLORS trilogy will stand forever as one of cinema’s most intellectual achievements.

A brand-new Romeo and Juliet dear one fishing, reframed as a jocose fight with between two victuals-stall owners in Singapore, “Chicken Rice War” is a rough-and-ready, defiantly indigenous entertainment that’s enjoyed modest business since its mid-November bow (thanks to its lineup of local names) but won’t tourism far from the island’s screens. Pic closes a unexcited year for Singapore’s fledgling dynamism.

Lively but chaotic opening sketches the 20-year running battle between two tiny adjacent eateries, each jealously guarding its culinary formulae. Love eventually blooms between the owners’ offspring, snooty Audrey Chan (supermodel Lum May-yee, from “12 Storeys”) and wimpy Fenson Wong (Pierre Png, from “Forever Fever”), with the youngsters trying to end the feud by revealing the recipe secrets. With weakly written roles, Lum and Png are eclipsed by the richer gallery of older actors, particularly Gary Yuen and Catherine Sng as the hotheaded rivals and Jonathan Lim as their crafty wholesaler. Technically, film is unadorned but OK, and first-time feature direction by Cheah Chee-kong (editorial director at Singapore’s MTV) is far better than his script, which strains for local-color laughs amid its Shakespearean references.

At first reflect, Quentin Tarantino’s “Pulp Fiction” may turn up ripe for spoofing: It features historic characters, indelibly loopy dialogue and a few unforgettable scenes. In fact, how, the patented looniness of “Pulp Fiction” makes it virtually spoof-proof. “Plump Fiction” is a trivial and surprisingly unimaginative have a go to parody Tarantino’s work, but pic’s biggest assignment is to remind us — by discriminate — just how rich and inventive Tarantino’s mist actually is. The fleer should have anemic B.O. and is likely to come and go in a hurry.

Tarantino has never concealed his own tendency to pilfer from cinema history — whether it be from Godard or American gangster films. But when he borrows from films, he adds new elements that give his work fresh life and an original voice.

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In contrast, “Plump Fiction” takes Tarantino’s indie classic and spoofs it in a way that becomes lamentably predictable. Revisiting most of the celebrated scenes of “Pulp Fiction,” the new pic also throws in a potpourri of references to other indie pics like “Reservoir Dogs,” as well as to commercial hits like “Natural Born Killers,” “Forrest Gump” and “Nell.”

In place of Tarantino’s hit men Vincent and Jules, we get exterminators Jimmy (Paul Dinello) and Julius (Tommy Davidson); coke addict Mia and her husband Marsellus are replaced by compulsive eater Mimi (Julie Brown) and her spouse Montello (Robert Costanzo); coffee shop robbers Honey Bunny and Pumpkin are portrayed here as aspiring writer Bunny Roberts (Sandra Bernhard) and her Gump-like companion Bumpkin (Dan Castellaneta). Pic’s convoluted plot, like the original’s, has each of the storylines intersecting briefly. It also interweaves appearances by sexed-up psycho-killers Nicky (Matthew Glave) and Vallory (Pamela Segall), as well as a host of gun-toting strippers disguised as nuns.

Instead of taking cliches and making them new — as Tarantino did when he had John Travolta do the twist — writer/helmer Bob Koherr takes “Pulp Fiction’s” inventive scenes and makes them feel like cliches. Mimi and Jimmy’s tabletop dance, for example, is a yawner, and their increasingly spastic gyrations seem like a desperate attempt to inject a dead metaphor with life.

Still, pic does have its moments. One of Koherr’s more promising ideas involves a restaurant called the Independent Cafe, where staff members dress as memorable characters from independent films. Unfortunately, the concept never really comes to fruition.

The few times Koherr’s script manages to be amusing are when it subverts expectations instead of catering to them. Initially, the gimp/basement torture scene seems to be heading in a painfully obvious direction, but, when the gimp is unmasked as Nell, the situation sets up a surprisingly funny turn of events.

Thesping is above average overall. Standout performances include Pamela Segall’s Vallory, a dead-on impersonation of Juliette Lewis in “Natural Born Killers,” and, too briefly, Kane Picoy’s, billed simply as “Christopher Walken character,” a walk-on part that impressively mimics Walken’s articulation and manner.

Showing with “Plump Fiction” in Los Angeles venues is a 3-minute short entitled “Swing Blade.” A cross between “Swingers” and “Sling Blade,” this clever spoof provokes more laughs in its few minutes than “Plump Fiction” does in its entire running time.

On cloud nine Times 
Z
execute Yimou is purposes the
most widely-known and acclaimed Chinese supervisor, at least to Western audiences.
He made his mark with formidable films such as

Ju Dou

,

Dig up the
Red Lantern

, and

Shanghai


Triad

–anti-domineering
movies that allegorically commented on contemporary Chinese society by
examining narratives of the quondam. In the model few years, however, Zhang's
films have become less overtly political and, consequently, smaller. Though
I enjoyed

Not One Less

and

The Road Home

a great deal, they
felt more like niche pieces than the full-bodied-blown operas of his earlier
works. And Zhang's pungent political commentary all but vanished..
This swing continues in Zhang's
latest talkie to open here in Chicago. Even the title,

Happy Times

,
points to its sunnier placement and more trivial plot. 'Trivial' is of
course a devious word, implying something that energy not be worth your time.
That's not perfectly fair, but

Happy Times

is certainly the first
Zhang murkiness I cannot wholeheartedly endorse.
The flick picture show centers on Zhao
(played by Zhao Benshan), a single man approaching late mesial age who's
desperate to get married. So yearning for that he proposes to a little woman on their
terribly senior escort. She's no superior catch herself and she readily accepts,
with the proviso that their wedlock be a grand affair. The problem is
that Zhao doesn't own much money but, caught up in the moment, he promises
a lavish alloy. Now where is he prevalent to get that kind of change?
One of his friends suggests
that they convert a broken down bus into a lovers' "B & B." The bus is
already lascivious in a secluded spot; all they'd have to do is fix it up
and issue couples would with pleasure extend for a
mote of privacy. Zhao is
skeptical at first, but his friend's prediction proves precise, and the
"Happy Times Hotel" does a booming function. That is, until the authorities
go on a beautification project and also waggon the bus away. And that's the matrix
we in any case see of the Happy Times Hotel.
It's a singular narrative
relocation. Why begin a adept intimation only to abandon it fifteen minutes into
the movie? Maybe to indistinct on the relationship between Zhao and his fiancee?
That'd be a fitting choice as Dong Lihua (the lady-love playing the fiancee) is
a wonderful actress in the role of a aggressive, brassy middle-aged moll. Unfortunately,
her character is merely a caricature–a miserly and unprincipled stepmother right
gone of Grimm's fairy tales. No, the youth cabal thread turns out to be
the relationship between Zhao and his fiancee's stepdaughter, a teenage
crumpet named Wu Ying who happens to be blind. Zhao's fiancee dumps the girl
on Zhao and forces him to mark her a job. But now that the "hotel" is a
bust (a information he can't admit to her stepmother), he has to invent a job.
So he and his friends conspire to create a fake knead parlor, but united
real enough that a blind mouse won't note. The expected hijinks and moments
of pathos ensue. I told you the calculate was trivial.at understanding large, they felt more
like chamber pieces than the full-blown operas of his earlier works. And
Zhang's pungent partisan commentary all but vanished.
Unfortunately, Zhang's choice
of locales is also disappointing. Whereas the period pieces or rural settings
of previous films gave him plenty of opportunities to create fantastic compositions
and get someone all steamed miracles with color, the urban locale of

Exultant Times

is
strangely inert. Zhang's trademark use of color is rarely seen, and the
images largely lay flat on the separate. The constant is exactly of his latest ingenue,
Dong Jie, in the role of the blind young lady. While she shares the smile of
Gong Li and the natural litheness of Zhang Ziyi, she has little of those
actresses' charisma. True, being blind is a difficult role, but it's however
a rather empty portrayal.
Nonetheless,

Happy Times

might be benefit seeing justified to interview Zhao Benshan. His dispatch as a man
desperate to get married is wonderful. I explicitly enjoyed his interactions
with his friends, which feel both
natural and poignant. And
though it's predictable that he'll increase a fetters with his young charge,
their relationship mollify has moments of Cyclopean tenderness. There's a wonderful
landscape when she feels his face to see what he "looks like," as they cart
on a street corner. Absent-minded to the crowds filing by, the two share a
good-looking tick. And a scene near the end of the movie when the two deliver
written letters to each other (hers is actually tape recorded) is genuinely
moving. I'm not sure it's value sitting through the rest of the pabulum,
but it wasn't a bad clearance to get out of Chicago's summertime heat. The movie
opens this weekend at the Landmark. 
J. Robert Parks 8/5/2002

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Reviewed by Dennis Schwartz

Jean Cocteau (”The Blood of a Poet”/”Orpheus”) is the writer-director
of this imaginative but at times heavy-handed arthouse fairy tale. The
story is based on the 1757 fairy-tale by Mme. Leprince de Beaumont. It
sets the benchmark in elegance for such fantasy films. The film’s magical
moments feature the outstanding sets and costumes designed by Christian
Bérard and Escoffier, and the moving portrait of the Beast as a
frightening, erotic and sensitive creature by Jean Marais (he also plays
the part of Avenant). The only weaknesses are when the film deals with
reality, which are less than enchanting. 

Belle (Josette Day) works as servant in her household after her merchant
father (Marcel André) goes bust by the loss of his three ships at
sea. Her wretched sisters Adelaide (Mila Parély) and Félicie
(Nane Germon) refuse to help and her idler brother Ludovic (Michel Auclair)
only frolics with his shallow friend Avenant (Jean Marais). The handsome
Avenant asks Belle to marry him, but even though she loves him turns him
down by saying her duty is to take care of her father. Things look up with
the news that one of the ships has been found and her father goes to the
port to reclaim it. The two vain sisters want him to return with luxurious
gifts, while Belle only asks for a single Rose. The father receives the
bad news that his creditors have seized the ship (his son built up a debt
behind his back) and returns home at night by way of the forest empty-handed.
He loses his bearings and comes upon a castle whose doors mysteriously
open and unseen hands light the way and prepare food for him (filmed at
Raray, home to one of the most beautiful French palaces and parks). In
the morning before he leaves, he plucks a rose from the garden for Belle
and is reproached by an angered Beast. He’s given the choice of being killed
or having one of his three daughters agree to pay back the debt by staying
with him in the castle. The father returns home, gives Belle the rose,
and becomes bedridden with a mysterious ailment. Belle agrees to be with
the Beast blaming herself for his misfortune. She goes there in the Beast’s
white horse and is frightened at how ugly the Beast is but soon learns
to look beyond his appearance and finds he’s kind-hearted, lonely and a
good person. But when the Beast asks her hand in marriage, she puts him
off by saying she’s fond of him but not in love. When she’s allowed to
return home to tend to her father’s illness, her greedy sisters learn of
the Beast’s great magical powers and great riches. They plot to steal the
treasure and send Avenant and Ludovic on the white horse Magificent to
steal the treasure after stealing the key to the castle from Belle. In
the meantime, Belle cures her father with the Beast’s magical glove and
then goes to find a dying Beast. He’s dying from grief because no one loves
him. But he’s saved by Belle’s loving look. While entering the castle,
Avenant is shot with an arrow by an unseen shooter and becomes the Beast.
At the same moment the Beast becomes Prince Charming handsome like Avenant
and tells Belle that she will be his queen. They embrace and fly off to
heaven, and live happily ever after.

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The allegory depicting true love, loneliness and fear of one’s animal
nature is told with spare dialogue and through a child’s eye but with adult
humor thrown in. The black and white photography magnificently glitters
setting an eerie ethereal mood; the magical castle has many memorable images
such as the candelabras on arms and moving faces in the stoneworks; there’s
intriguing shots of smoke rising from the beast’s fingers after he has
just made a kill and of Belle giving her sisters the pearl necklace present
the Beast gave her and it turns to garbage as soon as the sister touches
it; the medieval costumes taken from the drawings of the 19th-century Gothic
artist Gustav Doré sparkle with a richness; and the music of Georges
Auric is very satisfying. There’s more beauty than beast in this production.
A visual treat. 

Top banana:

Robert Altman

Cast:

Emily Watson, Derek Jacobi, Maggie Smith, Kristin Scott Thomas, Kelly Macdonald, Clive Owen, Stephen Fry, Ryan Phillippe, Jeremy Northam, Helen Mirren, Michael Gambon, Alan Bates, Richard E. Grant, Eileen Atkins, Bob Balaban, Charles Dance, James Wilby

Screenplay:

Julian Fellowes

Tagline:


Tea At Four. Dinner At Eight. Murder At Midnight.


Box Office:


Budget $15 million.

Opening weekend $395,162 on 9 screens.

Domestic gross $41.3 million.


MPAA:


Rated R for some language and brief sexuality.

Academy Awards:


Won for Best Original Screenplay.

Nominated for Best Picture; Best Director; Best Actress-Helen Mirren, Maggie Smith; Best Art Direction-Set Decoration; Best Costume Design.

Widescreen 2.35:1/16×9

Subtitles:

English, Spanish
Closed-captioned

Runtime:

138 min.


Price:

$26.98


Release Date:

6/25/2002

Bonus:


• Audio Commentary With Director Robert Altman, Production Designer Stephen Altman, and Producer David Levy

• Audio Commentary With Screenwriter Julian Fellowes

• Deleted Scenes With Optional Commentary

• ?The Making of

Gosford Park

? Documentary

• ?The Authenticity of

Gosford Park

? Featurette

• ?Cast and Filmmakers Q&A Session?

• Trailer

• Production Notes

• Coming Attractions

Gosford Park (2001)

As proof that not all of his glories remain in the past, 77-year-old Robert Altman achieved strong critical success with his 2001 release,

Gosford Park

. After a mixed reaction to 2000?s



Dr. T and the Women



, Altman returned to form with

Gosford

. The movie didn?t make a substantial sdas box office impact, but that doesn?t come as a surprise; this sort of quiet piece usually doesn?t reach a mass audience. Nonetheless, the movie got seven Oscar nominations. It received nods for top prizes like


Best Picture


and Best Director, and it took home the award for Best Writing, Screenplay Written Directly for the Screen.

Despite his stellar reputation, I must admit I?ve never been especially enamored of Altman?s work. I like



M*A*S*H



quite a lot but I think



Nashville



remains an extremely overrated film. I strongly disliked

Dr. T

but was interested to check out the much-praised

Gosford

and see if it fared better.

Yes, it did, but that wasn?t difficult.

Gosford Park

offered a somewhat erratic experience. The movie had some interesting elements, but as a whole it seemed a little drab and bland.

Packed with an enormous cast,

Gosford

examines a social gathering at the rural English estate of Sir William McCordle (Michael Gambon). Set in the 1930s, the movie initially presents amusingly crotchety Constance, Coutness of Trentham (Maggie Smith) and her personal assistant Mary (Kelly Macdonald), we soon meet a wide variety of privileged guests, their servants, and the house staff.

Of course, a few of these receive more attention than others, but the film presents them in a relatively democratic manner. That makes it tough to concisely discuss the plot, especially since the movie doesn?t really offer a tight storyline. Instead, it focuses more heavily on the events of the period, through dinners and a bird hunt.

The film stays with these interpersonal interactions for most of the first half until a dramatic event finally occurs. Someone murders Sir William, and the police enter the situation. During the rest of the movie, bumbling Inspector Thompson (Stephen Fry) deals with the slaying and the others sort out their own relationships.

Really, the murder seems like something of a MacGuffin. The movie?s plot appears to revolve around Sir William?s death, but in reality, the flick doesn?t devote much energy on it. Blurbs that relate the film?s plot may make

Gosford

appear to be a murder mystery, but that concept could scarcely be farther from the truth. The flick provides no sense of tension or drama in regard to the killing, as it comes across as an afterthought much of the time.

I don?t mean this to sound like a complaint, but I do mention it more as a warning. I?ve read other reviewers who intensely disliked

Gosford

due to its ambling pace and lack of strong storyline. Indeed, almost nothing ?happens? during the movie. For some, that seems like a major weakness, but others will regard the more vague and character-oriented emphasis as a strength.

I fall somewhere in between the two camps. I didn?t mind the lack of tight plotting, but I didn?t fully embrace the manner in which Altman told the story. Nonetheless, I did find

Gosford

to offer an intriguing experience that remains interesting after it ends.

Actually, that latter thought conveys probably the strongest aspect of

Gosford

: its depth. The movie really demands additional viewings to pick up on all its textures and nuances. It tosses so many characters and situations at you that you can?t take in all of them at once; with another screenings, you?re sure to discern many new tones and elements that passed you by the first time.

Altman usually utilizes a seemingly loose attitude throughout his movies, and that occurs here as well. While I didn?t think this worked well in something like

Nashville

or the abysmal

Dr. T

, Altman exhibits greater tightness here. I received a great deal of negative e-mail about my general dislike of

Nashvile

, but I stand by my thoughts that it was more interesting as an experiment than as a film.

In

Gosford

, however, Altman shows that he developed the multi-character formula greatly over the years.

Gosford

features

more

roles than the much touted ?24 major characters? in

Nashville

, but it manages to develop them more fully and treat them like humans, not props. It also retains the seemingly loose and casual tone of many other Altman flicks without appearing like they just made it up on the spot.

In other words,

Gosford

comes across as a well thought out

film

, not just a cinematic experiment. Julian Fellowes? script deserves much of the credit for the increased structure, as it gives Altman a solid framework upon which to build, and the excellent veteran cast also allows the material to breathe. As seen in the rambling and self-indulgent



George Washington



, bad films become even worse with weak acting.

Gosford

provides a terrific group of actors who anchor the piece and make sure it doesn?t go astray.

If anything, I thought

Gosford

had too many plot-driven moments. Though most of the film remained detached and cool, it tied together a little more tightly than I?d like. It seemed to violate its own rules at times, though these occasions remained infrequent.

I can?t say that I feel great enthusiasm toward

Gosford Park

, but I definitely like it more than many other Robert Altman movies. The movie provides an intriguing experience that should become even more rewarding upon additional viewings. Altman provides a clever twist on the standard murder mystery that manages to be different without seeming self-conscious.

The DVD Grades: Imagine B / Audio B- / Bonus B+

Gosford Park

appears in an aspect ratio of approximately

2.35:1

on this single-sided, double-layered DVD; the image has been enhanced for

16X9

televisions. Overall, the picture seemed fine for what the filmmakers intended to do.

Altman and the others clearly wanted a slightly murky look to

Gosford

, but this caused no significant problems. Sharpness appeared good for the most part. A few wider scenes appeared slightly soft, but those didn?t create any big concerns. Most of the film looked nicely detailed and distinct. Jagged edges and moiré effects presented no issues, but I did notice some light edge enhancement at times. In regard to print flaws, I detected mild grain on occasion, and I also saw a few examples of speckles and grit. However, most of the movie remained clean.

Due to the style of the film, the palette remained fairly subdued through most of the movie, and it also took on that vaguely golden tone typical of period flicks. I found the colors to appear solid despite these choices, however. The hues came across with good clarity and definition throughout the movie. Black levels seemed nicely deep and rich, while shadow detail usually appeared appropriately heavy without excessive opacity. On a few occasions, some interiors looked a bit muddy, but those examples seemed rare. Ultimately,

Gosford Park

presented a good image that seemed to represent the filmmakers? intentions for the most part.

The

Dolby Digital 5.1

soundtrack of

Gosford Park

provided a serviceable but unspectacular presentation. Not surprisingly, the soundfield remained heavily oriented toward the front channels. The surrounds rarely added much; even during a thunderstorm scene - the kind of element that usually spices up this kind of mix - the audio stayed largely anchored in the front. Since

Gosford

focused so strongly on speech, I didn?t find this orientation to be a problem, but I felt the integration of the elements could appear off to a certain degree. Music displayed good stereo presence, and effects spread well across the front. However, those latter elements didn?t always blend together very naturally. For example, dinner scenes seemed somewhat awkward and artificial.

Sound quality appeared acceptable. Speech showed the main problems. Some of that came from the many accents, which could be difficult to understand at times. Altman?s style of overlapping speech also made intelligibility difficult at times. However, I didn?t consider those to be flaws, since they?re inherent to the movie. I did feel that dialogue occasionally seemed somewhat metallic and rough, however; the lines remained decent but lacked the definition I expected.

The rest of the track seemed fine. Effects were reasonably clean and accurate, and they showed no issues related to distortion. Music worked quite well, as the score and songs appeared bright and vivid. Low-end didn?t create a substantial presence during the film, but the track showed good fidelity and dynamics. In the end, the soundtrack of

Gosford Park

had some flaws, but it seemed fairly satisfying for this sort of film.

This DVD release of

Gosford Park

packs a mix of extras, including two separate

audio commentaries

. The first involves director Robert Altman, production designer - and son of the director - Stephen Altman, and producer David Levy. All three were recorded together for this running, screen-specific track. Oddly, the DVD never formally introduces Levy or the junior Altman. The menu simply lists a ?director?s commentary?, and none of the participants states his name during the track; I had to figure out their identities for myself.

I?ve heard Altman commentaries for

Nashville

and

M*A*S*H

and found both to offer pretty weak discussions. Altman occasionally provided some interesting remarks, but that material popped up infrequently; the tracks suffered from

many

empty spaces. I hoped that the presence of the other two filmmakers would make this commentary a more active affair, but unfortunately, it shows many of the flaws found on those other pieces.

On the positive side, the Altman boys and Levy occasionally provide some interesting remarks. For example, we learn about the director?s desire to get an ?R? rating instead of a ?PG-13?, and he also chats about period details, casting, and a few other moments. Djl Altman and Levy chime in on similar topics, though they don?t do much more than reflect the director?s material.

As with the other Altman tracks,

Gosford

flops because so much of it passes without information. Scads of time passes without remark, and even when someone does speak, the details usually seem fairly lackluster. This track succeeds better than the prior Altman commentaries, but not by much; overall, it seems fairly boring and tedious.

The second commentary comes from screenwriter Julian Fellowes, which sits alone for this running, occasionally screen-specific piece. I feel Fellowes offers a strong piece, but others may disagree for one reason: he devotes relatively little time to the subject of the movie itself. To be sure, Fellowes does cover some issues particular to

Gosford

, such as the cast and the writing process. However, most of the track relates to the facts behind the movie. Fellowes provides a terrific chat about the reality of the various situations, and he even tosses in his own experiences with upper-crust relatives and his upbringing. For me, Fellows seems chatty, engaging, and very informative; I like this commentary quite a lot. However, folks with no patience for tracks that don?t deal exclusively with the movie - and I know you?re out there - will probably not care for it.

Next we find

The Making of

Gosford Park


, a 19-minute and 50-second documentary about the film. It offers the usual mix of behind the scenes shots, snippets from the movie, and interviews with participants. We hear from director Altman, screenwriter Fellowes, producer Levy, and actors Emily Watson, Alan Bates, Richard E. Grant, Bob Balaban, Stephen Fry, Eileen Atkins, Ryan Phillippe, Helen Mirren, Michael Gambon, Kristin Scott Thomas, Kelly Macdonald, Clive Owen, Jeremy Northam, and Derek Jacobi.

The documentary starts well. We learn nice facts about the genesis of the project and Altman?s working style, such as his loose reliance on the script. However, before too long the show degenerates into a fairly generic promotional piece that does little more than relate some basic plot and character points. It picks up again toward the end, and we even get to see bits of the Golden Globe ceremony and the announcement of the Oscar nominations. In the end, the documentary has enough moments to merit a look, but it seems fairly insubstantial.

After this we get a collection of

deleted scenes

. We find 15 of these in all, and they last for a total of 20 minutes. Unfortunately, it?s tough to access individual snippets; they run as one long piece without chapter stops. I found the scenes interesting to watch, and those who don?t like the loose nature of

Gosford

will wish some of them made the cut, as they add structure and plot elements to the tale.

We can watch the clips with or without commentary from Robert Altman, Stephen Altman, and David Levy. As with their longer track heard during the movie, their remarks here appear sporadically. Sometimes we learn why the snippets didn?t end up in the film, and sometimes we don?t. I?d estimate that they explain the deletion of about half the material, and virtually all of those shots got the boot because they were either too plot-driven or too sentimental. Otherwise, the commentators do little more than describe the scenes.

The Authenticity of

Gosford Park


provides an eight-minute and 40-second look at the facts behind the fiction. These consist of movie clips, shots from the set, and interviews with Robert Altman, Fellowes, Levy, actors Bates, Jacobi, and Mirren, butler technical advisor Arthur Inch, cook technical advisor Ruth Mott, and parlour maid technical advisor Violet Liddle. Although Fellowes already covered many of these issues during his commentary, ?Authenticity? seems interesting due to the participation of the technical advisors. All served in their various capacities back in the Thirties, so they bring a nice level of depth to the show.

During

Cast and Filmmakers Q&A Session

, we get a 28-minute and 58-second interview period taped in March 2002, only a few weeks prior to the Oscars. Moderated by Pete Hammond, this chat includes Robert Altman, Fellowes, Levy, and actors Bob Balaban, Kelly Macdonald, Helen Mirren, Jeremy Northam, and Ryan Phillippe (who enters after about 11 minutes). Overall this offers a good conversation. Hammond asks questions for the first 12 or so minutes, and then audience members chime in with their queries. We hear some of the information conveyed elsewhere, but the program still offers some useful material.

After this, a few more standard features appear. In addition to the film?s

theatrical trailer

, we get a

Coming Attractions

area. The latter advertises the movie?s soundtrack CD as well as some other Universal DVDs. The booklet adds some decent

production notes

, and

Cast and Filmmakers Filmographies

gives us more information. For the 16 actors listed, we get straight filmographies plus a few remarks about their characters. The entries for the 11 crewmembers act as annotated filmographies; they provide no charts of their work but instead give us a prose examination of their careers.

While I doubt I?ll ever be a real fan of Robert Altman?s work, I thought

Gosford Park

worked well. The movie provided an unusually dispassionate take on the murder mystery genre and offered a clever and nicely subdued experience. The DVD gives us acceptable but unspectacular picture and sound, and it also packs a good roster of supplements. I can?t recommend

Gosford Park

to everyone, for many clearly will be bored to sobs by it. However, if this form of material intrigues you, I encourage you to give it a look.

Michael Keaton stars as an American banker who finds himself being framed for a political assassination in Nice, France in Quicksand. It’s an intelligent, although not always engaging, thriller that is carried by Keaton’s good acting, plus some nice supporting staff from Michael Caine.

Keaton plays Martin Raikes, who notices an queer transaction at his bank from a film company and decides to chairperson to France to shepherd a see to what is going on. Once he is there, he meets up with Lela Forin (Judith Godreche), who is helping terminate the film production, and also touches base briefly with famous actor Jake Mellows (Caine), who is the star of the movie being filmed.

Keaton isn’t too apprehensive here what is going on – even-tempered when a unclear man offers him a briefcase satiated of cash (he completely thinks he’s been mistaken for someone else) – so he plans to entrust France the next period to head off to London to meet up with his daughter and his ex-better half. But as he goes to a unchangeable convergence with Lela, he notes that no one is in the room where they were supposed to collect, and sees (and picks up…big misapprehension!) an automatic burgle passe on the balcony of the building. Almost immediately gunfire goes off and the city’s police chief (at a reception below) crumbles to his death. All eyes immediately go up to Keaton, with the gun still in his collusively!

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Realizing he’s been framed, but not knowing who or why, Keaton goes on the run. He soon finds out-moded that not only is he wanted for the chief’s murder, but back in the U.S., someone has framed him to decide on it look disposed to he’s embezzled a ton of money from his bank.

Caine’s character doesn’t surface into temporize until the form half hour or so of the movie, and – in fact – we only see him in about five minutes good of film before that unimportant. He’s documentation in the movie, but is in effect an disposable character. The tangible celeb here is Keaton, and he long ago again proves that he’s a significant marked actor…it’s it is possible that surprising that his “star” in Hollywood isn’t as high as it formerly was…the guy is convincing in almost every role I’ve seen him extemporize.

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