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3.7 out of 5 stars232
3.7 out of 5 stars
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Love and Betrayal. God and Country. Courage and Frailty. The whole range of Human Condition is captured on a canvas of infinite sands and beige dreams.

This is a breathtaking film that got the Oscar acclaim it deserved. A Modern Classic - people of coming generations will talk of this film the same way we talk about CASABLANCA.

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on March 1, 2012
Filmfan, I believe the name was, you should contact them again. Amazon did the same thing with me (switching one edition for the other), but I was able to prove that they had done it since I had the e-mail from my orginal order, which had the picture of the correct edition. They did apologize for making the switch, and claimed to not know how it happened, but I have trouble believing that. Anyway, they refunded my order, and also gave me an additional $20 credit.

Still, Amazon should not change people's orders without informing them, and I wish they would educate their customer service on the differences between video transfers, being one of the largest retailers of DVDs and Blu-Rays in the world.
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on August 26, 2009
I watched that film over and over and it gets better with time...What a beautiful love story ! Passion, betray, deepness, human relations...with marvelous landscapes and costumes. And so well played! Especially Kristin Scott Thomas and Ralph Fiennes...You can not imagine other actors in these roles. The sand is also a very important personage...some scenes are so intense that you will never forget them...For me, one of the best film ever. Juliette Binoche won an Oscar for her role and she deserved it but the only thing is that she is French and she was supposed to be a French-Canadian. So her accent is not exact. But probably noticed only by French speaking persons...
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on June 15, 2009
Though this Blu-ray version looks better than the previous DVD, it is a marginal improvement when viewed on a 1080p projector (mine is the Sony Pearl) at 8 feet width. Film grain is heavy and the print source is a bit dirty and gritty and slightly fuzzy. My guess is that very little was done to prepare this disc for release.

I wouldn't recommend this disc to most buyers unless you absolutely adore this film (as I do)

The sound in DTS-MA is excellent, though, and an does not disappoint.
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Love and Betrayal. God and Country. Courage and Frailty. The whole range of Human Condition is captured on a canvas of infinite sands and beige dreams.

This is a breathtaking film that got the Oscar acclaim it deserved. A Modern Classic - people of coming generations will talk of this film the same way we talk about CASABLANCA.

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TOP 50 REVIEWERon November 25, 2013
Towards the end of the Second World War patients are being moved from one location to another. One mortally wounded patient is in such a condition that travel is impossible. A nurse traveling along with this patient finds an abandoned villa. They deposit the patient there and she waits for his demise before planning on catching up with the convoy. We also wait as the "English patient" slowly lets his history unfold forasmuch as he can remember. But wait someone else finds out about the English patient and is determined to help them remember. As time passes we are not sure that he ever forgot. You will have to watch the movie to see how it unfolds.

This is more of a psychological drama than it is an action movie. It's not that it moved slowly but it digresses as it moves in and out of flashbacks that you have to intricately put back together to find the full story; if there is a full story.

I have to confess that I have not read the book. However the extra information on the DVDs explains how they compared and contrasted the movie to the book; also they had to explain the differences that makes the movie work as it has to get a different sequence in place of the book. However not knowing any different I saw this is an excellent presentation.
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on September 7, 2006
After the publication of Michael Ondaatje's Booker-Prize-winning "English Patient," conventional wisdom soon held that the novel, while a masterpiece of fiction, was entirely untransferable to any other medium: too intricately layered seemed its narrative structure; too significant its protagonists' inner life; too rich its symbolism. Then along came Anthony Minghella, who reportedly read it in a single sitting and was so disoriented afterwards that he didn't even remember where he was -- but who called producer Paul Zaentz the very next morning and talked him into bringing the novel to the screen. Two major studios and several fights over the casting of key roles later, the result were an astonishing nine Oscars (Best Picture, Director - Anthony Minghella -, Supporting Actress - Juliette Binoche -, Cinematography, Editing, Art Direction, Costume Design, Original Score and Sound), as well as scores of other awards.

"The English Patient" is an epic tale of love and loss; of ownership, belonging and the bars erected thereto. It unites the stories of five people: Hungarian count Laszlo de Almasy (Ralph Fiennes), mistaken as English by a British Army medical unit in Italy after professing to have forgotten his identity; Hana (Juliette Binoche), Almasy's Canadian nurse; Katherine Clifton (Kristin Scott Thomas), his erstwhile lover; Kip (Naveen Andrews), a Sikh sapper and Caravaggio (Willem Dafoe), an ex-spy and thief. All outsiders, they are struggling to come to terms with their lives: Almasy, on his deathbed, reflects back to his life as a North African explorer and his affair with Katherine; Hana believes herself cursed because everybody she cares for dies (in the movie her fiance and her best friend; in the novel her fiance, her father and her unborn baby), Katherine is taken to an all-male company of explorers in Cairo by her husband Geoffrey (Colin Firth), Kip, like Hana, is far away from home (the only Indian in an otherwise British and Italian environment) and Caravaggio lost his livelihood after his thumbs were cut off in captivity by the Germans, on a sadistic officer (Juergen Prochnow)'s orders.

Like the novel, the movie's story largely unfolds in flashbacks: After Hana convinces her superiors to let her stay and nurse Almasy in an abandoned Tuscan villa, she and new arrival Caravaggio, who holds Almasy responsible for his fate, extract the details of his life in Africa and the truth about Katherine, Geoffrey and the events uniting him with the Cliftons and Caravaggio from Almasy in a series of conversations. But at the same time, the story is anchored in the present by Hana's growing attachment to Kip, which shines a different light on the themes also driving Almasy and his relationship with Katherine. The film's outstanding cast, which in key roles also includes Julian Wadham as Almasy's friend Madox and Kevin Whately as Kip's sergeant Hardy carries the story marvelously: Probably their biggest award loss (besides Fiennes's and Scott Thomas's Oscar and other "best lead" nominations and Minghella's screenplay Oscar nomination) was the 1997 SAG ensemble award, which instead went to "The Birdcage."

In his screenplay Minghella made several changes vis-a-vis the novel; the biggest of these doubtlessly a shift in focus from Hana, Caravaggio and Kip to Almasy and Katherine, and the fact that the film is much more explicit about Almasy's identity than the novel. Both were wise choices: Hana's inner demons in the novel are largely exactly that -- *inner* demons, moreover, substantially grounded in the past and thus even more difficult to portray than Almasy's and Katherine's. Similarly, once the focus had moved to the latter couple, Kip's back story would have extended the movie without significantly advancing it; and the same is true for the intersections between Caravaggio's path and that of Hana's father. Secondly, mistaken *national* identity is overall more central to Almasy's character than identity as such; so the novel's intricate mystery about his persona might well have proven unnecessarily distracting in the movie's context. Indeed, once Almasy had become the story's greatest focus, much of its symbolism virtually even required that there be no real doubt about his identity.

But in all core respects, Minghella remained faithful to Ondaatje's novel; particularly regarding its profoundly impressionistic imagery, as shown, for example, in the curves formed by the Northern African desert's endless sand dunes, which in John Seale's magnificent and justly awardwinning cinematography resemble those of a woman's body as much as they do in Ondaatje's language, thus uniting Almasy's two greatest loves in a single symbol.

Doubtlessly the most important image is that of maps: Guides to unknown places like those drawn by Almasy and his friends during their explorations, but also tools of ownership like the cartography of Northern Africa made possible by Geoffrey Clifton's photos, and ultimately symbols of betrayal, as Almasy surrenders his maps to the Germans in exchange for a plane after he feels deserted by the British. And while Kip, who spends all day searching for bombs but wants to be found at night, guides Hana to himself by a series of tiny signposts in the form of oil lamps -- but still never tries to expect her, in order not to get too much attached to her -- Almasy, the perpetual loner who declares that he hates ownership more than anything else, gets so attached to Katherine that he claims her suprasternal notch as his exclusive property and later refers to her as his wife, which due to her marriage to Geoffrey she couldn't truly be in life and could only symbolically become in death. -- The final word on maps, belonging and ownership, however, is part of Katherine's legacy to Almasy (and I still prefer the novel's language here):

"I believe in such cartography -- to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps."
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on October 15, 2002
After the badly burned Hungarian patient Count Laszlo de Almasy (Ralph Fiennes) is pulled from the wreckage of a plane, he is taken to a military hospital with no memory of his past. During the journey through Italy, his Canadian nurse Hanna (Juliette Binoche) insists on staying behind in a monastery to prevent further injury and discomfort to her patient. While secluded in the countryside a different world with new meaning unfolds for both of them. The Count flashes back to recall his life as an archeologist on a map making expedition, where he meets and falls in love with a married English woman, Katherine (Kristin Scott Thomas). During his stay, he slowly regains the memories of their life together.
Meanwhile, Hanna who has lost a lover and a best friend in the war, meets Kip (Naveen Andrews), a Sikh bomb disposal expert, and she becomes romantically involved.

Anthony Minghella, director of The English Patient, remarkably brings cultural diversity, compassion, and emotion all together in this film. The cinematography captured by John Seale shows not only the beauty of the desert and its unknown secrets, but also the coldness of the villages during the war. After viewing this film, it leaves no doubt to why this film won nine Academy Awards and Best Film in 1996.
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on July 29, 2002
In a style reminiscent of the best of David Lean, this romantic love story sweeps across the screen with epic proportions equal to the vast desert regions against which it is set. It's a film which purports that one does not choose love, but rather that it's love that does the choosing, regardless of who, where or when; and furthermore, that it's a matter of the heart often contingent upon prevailing conditions and circumstances. And thus is the situation in "The English Patient," directed by Anthony Minghella, the story of two people who discover passion and true love in the most inopportune of places and times, proving that when it is predestined, love will find a way.
It's WWII; flying above the African desert, Hungarian Count Laszlo de Almasy (Ralph Fiennes) is shot down, his biplane mistaken for an enemy aircraft. And though he survives the crash, he is severely burned. To his great good fortune, however, he is rescued by a tribe of nomads and winds up in a hospital. But existing conditions are governed by circumstances of war, and Almasy soon becomes one of many patients being transported via convoy to a different facility. Upon reaching Italy, he is too weak and ill to continue on, and a Canadian nurse, Hana (Juliette Binoche), volunteers to stay behind with him at an abandoned monastery.
Hana soon discovers that her charge is something of a man of mystery, as Almasy remembers nothing of his past, and not even his own name. Thought to be English, the only clues pointing to who he is are contained in a book found in his possession after the crash, but even they are as cryptic as Hana's patient. Slowly, however, under prompting from Hana, Almasy begins to remember bits and pieces of his life, and his story begins to unfold. And his memory is helped along even more by the appearance of a mysterious stranger named Caravaggio (Willem Dafoe), who suspects that Almasy is the man he's been looking for-- a man with whom he wants to settle a score. But, burned beyond recognition, Almasy may or may not be that man. Meanwhile, Almasy's memories continue to surface; memories of a woman he loved, Katherine Clifton (Kristin Scott Thomas)-- as well as memories of Katherine's husband, Geoffrey (Colin Firth). And, crippled in mind and body as he is, those memories become the only thing left to which he can cling with any hope at all, even as his life seems to be slipping farther away with each passing moment.
In addition to directing, Anthony Minghella also wrote the screenplay for this film, which he adapted from the novel by Michael Ondaatje. The result is an epic saga presented in the tradition of Lean's "Doctor Zhivago" and "Lawrence of Arabia"; a magnificent film that fills the screen and the senses with unprecedented grandeur and beauty. Simply put, Minghella's film is genius realized; crafted and delivered with a poetic perfection, watching it is like watching a Monet come to life. From the opening frames, Minghella casts a hypnotic spell over his audience that is binding and transporting, with a story that has an emotional beauty that equals the engagingly stunning and vibrant images brought to life by John Seale's remarkable cinematography; images that virtually fill the screen as well as the soul of the viewer. In every sense, this is a film of rare eloquence, with a striking emotional capacity that facilitates an experience that is truly transcendental. Nominated in twelve categories, it deservedly received a total of nine Oscars, including Best Picture, Director, Supporting Actress (Binoche) and Cinematography.
If one had to choose a single word to describe the "essence" of this film, it would be "excellence." Even an extraordinary film, however, does not receive nine Oscars without performances that are extraordinary in kind; and the performances given by Ralph Fiennes and Kristin Scott Thomas here transcend the term "Oscar worthy." Nominated for Best Actor for his portrayal of Almasy (Geoffrey Rush was awarded the gold for "Shine"), Fiennes has never been better, achieving an emotional depth with his character that is nearly palpable. Private and introspective, Almasy is not by his very nature an individual to whom the audience will be able to form an intimate connection; Fiennes, however, finds a way to open that emotional door just enough to let you in, enough so that you taste the honest passion welling up within him. And it works. Almasy does not seek your friendship; he will, however, gain your compassion.
Kristen Scott Thomas, too, received an Oscar nomination for Best Actress (Frances McDormand received the award for "Fargo") for her portrayal of Katherine, a woman whose stoic countenance masks the emotional conflict raging within her, born of the forbidden passion that enslaves her and yet to which she gives herself willingly, casting off her shackles of repression to embrace a love so strong it threatens to consume her. The reserve Katherine must maintain evokes the empathy of the audience, as Scott Thomas successfully mines the emotional depths of her character to the greatest possible effect. It's the kind of performance that draws you in and holds you fast, taking you as it does beyond that curtain of hypocrisy that dictates what must be if only for the sake of appearances, and allows you to experience a true sense of unbridled passion. Understated and shaded with subtlety, it's terrific work by Kristin Scott Thomas.
Binoche gives a stunning, affecting performance, as well, as the kindhearted nurse, Hana; it is her humanity, in fact, which defines love in it's purest sense and offers a balanced perspective of it within the context of the film. Her relationship with Kip (Naveen Andrews) affords us a glimpse of passion of another kind, which contrasts effectively with the intensity of that between Almasy and Katherine. "The English Patient" is a film that will move you and fill you emotionally; one you will not want to see end.
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on July 9, 2002
The English Patient is one of the best films I have seen.It has a plot that is complex and mesmerizing.
I quote some words from TIME magazine in it's excellent article,THE BEST CINEMA OF 1996 in which this picture was # 1 for that year:For many European wanderlusters who found an Eden in the Sahara, the desert was a woman-dazzling, enveloping. In such a place the hungarian aristocrat Count Almasy(Fiennes) finds his ideal desert woman(Scott Thomas) and follows her to hell. He then lives, just barely, to tell to a ministering angel( Binoche) who can give him what he needs: not absolution but understanding.The lovers,Fiennes, all coiled sexiness, threat shrouded in hauteur and Kristin Scott Thomas,who has the gift of making intelligence erotic,come together in a dance of doom that is abrasive,mysterious,powerful,inevitable. Minghella's beautiful film gets the rapture right, with a scope and intimacy rarely seen on film since the David Lean days.
This review in my opinion perfectly expresses the appeal and greatness of this beautiful film.
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