Adapting any novel for the screen is a dangerous game. Concerns about upsetting the purists raring to hate it by moving too far from the source are juggled with questions about the need for the move from page to screen; why is necessary? What will the director bring to the story?
So a gutsy move it was from Joe Wright to take on as his second project Ian McEwan"s Booker Prize winning Atonement, held as one of the great pieces of fiction in recent years. Fortunately, it paid off, since this is a film which proves that life can be breathed into even the best books.
The film opens on a stifling July day in 1935. Beneath the lazy activities of the upper-class household lie stewing undercurrents and a sense of impending disaster. Thirteen-year-old Briony, a playwright with a vivid imagination paints family friend Robbie (James McAvoy) as a "sexual monster" after misunderstanding his camera-shuddering embrace with her sister Cecilia (Keira Knightley). By manipulating the points of view through which events are seen, Wright illustrates effectively the ease and danger of misinterpretation.
Several years later, they are all still paying for the mistake made that night. Released from prison into the army, Robbie is making his way to Dunkirk amid chaos. It is telling of the strength of McAvoy"s performance that at one point, a simple exhalation of breath quietly communicates such despair and longing. He shows us a man brought to his very knees by what he has seen - not just in France - as he trudges on toward Cecilia. Images of war, at times heartbreaking (and including an incredible four minute tracking shot), are offset with dramatic scenes of the sisters on the home front.
The final scene powerfully evokes questions about imagination, penance and regret. Is it possible to make amends for our wrongdoings? One thing is certain, Joe Wright will not need to beg forgiveness from Ian McEwan, for he has richly imitated and expanded on the style of a layered novel whilst coaxing some unforgettable performances.
I caught alot of Naruse films when they were in the cinema recently and was, frankly, more impressed by the body of work I was exposed to in 15 or so viewings than any set of films from any other director. They were, consistently, brilliant. This set features three of his most highly regarded films. "Late Chrysanthemums" tells the story or stories of three ageing ex-geisha and their lives textured with money, irresponsible(, modern) offspring and unrequited love. It is, despite what sounds like a down beat premise, very funny throughout. The little "Marilyn Monroe wiggle" at the end is the most famous bit of this humour, but the jokes actually come thick and fast. Alongside the gruelling working class drama, that is. Its hard to imagine anyone not likeing this film. "Floating Clouds", the second film in the boxset, is apparently Narues's best regarded film in Japan. As such I apprached it with massive expectations, that were... unfortunately dissapointed. It was visually stunning, the acting brilliant, atmosphere effective, it had the same down-to-earth financial and social textures as "Late Chrysanthemums", but... For some reason it didn't hold together so well for me. It seemed a little melodramatic, and the central woman character (almost all Naruse's films revolve around strong and beleivable women characters) didn't seem to have the same amount of agency and verve that other of Naruse's female characters have. That said, I am glad I watched it and look forward to watching it again, soon, for a re-assessment. The third film in the boxset, and my favourite of the three, is "When a Woman Ascends the Stairs". This one is about Mama the head-hostess of a bar in Ginza. Her husband died young, she hates her job, lives beyond her financial means because of it, is beautiful, and has staved off the advances of businessmen and their offers of marraige or "patronage". In the short space of time we share with her in this film Mama tangles with a filandering businessman, a banker and the manager of her bar, Komatsu, who is in love with her. Like Naruse's best films, "Woman Ascends" feels real. Mama and Komatsu spend their time chasing debts, paying off debts, switching from bar to bar, trying to open their own bar, other hostesses are felled by their ambition, people try to drink away their miseries, contradict themselves, and others, fight, make love, fall in love, and ultimately, as in many Naruse films, everyone continues to fight for their own existances during the hard times, but never forget to enjoy the good times. This film is great. And it feels real, the characters are real, and you, the spectator, experience their sufferings and joys becaue of it. This film is also photographed beautifully. The boxset, overall, is also great, despite my misgivings about "Floating Clouds". The other two films are, I'll say it again, wonderful.
A 2.5 hour long movie stretched over 7 hours? In Hungarian? Black and white? About the decline of Communism in Eastern Europe? The epitomy of pretentious arthouse? That is what I had heard Satantango was before watching, and I approached it with dread. Actually it turned out to be very much like that. As well as much, much more. I planned to watch it over 2 days. After watching the first DVD's worth I was interested. After the second I couldn't wait to put the third in, finish, and enjoy it. The seven hours became gripping. The 30-40 minute drunken dancing scene delightful. It was at times horrifying, at others hilarious. Often I found part of myself praying for certain scenes to end, whilst another part was hoping the very same scenes would continue to test my patience and crank up the anticipation of what might happen, but probable wouldn't. This anticipation is what, in my opinion, makes Satantango a great film, worth every 4.5 hours more than the standard 2.5 hours. The humour and suffering arise from the tension the stretched scenes create between viewer and film, as well as the films characters, narrative (it does have a narrative at least) and themes. The narrative is about a decrepid collective farm(ing community) as they wait in dread for and then receive the return of Irimias and Petrina who they all thought were dead. Irimias appears to be conman fresh out of jail rather than the grave, and Pertina his sidekick. They are, like much of the film, simultaneously grotesquely funny (when they tell a police officer that they would really like to get through life without doing a days work; the officer ends up hiring them) and disgusting and manipulative criminals, exploiting the more modest members of the farm. All in all, it starts with a five minute shot of cows walking around in seemingly barren buildings before turing out to be one of the most exciting movies I have ever seen. I would love to see it in the cinema, but am not too sure when that is going to happen. In the meantime however, I do have this DVD, which I highly recommend for anyone searching for a unique and funny film watching experience.
I watched this film because I work with blind people and wanted to hear what the articulate de Montalemberts had to say about his experiences of sight loss. His narration is, I think, enlightening and inspiring. Frequently moving and for the movie's 70 minutes running time gripping. Having lost his sight during a violent assault with paint stripper - a base, not an acide, that cannot therefore be washed out with water - de Montalemberts went almost completely blind. He then pushed himself through rehabilitation and mobility training faster and harder than recommended. And a short while after finishing rehab, having started to leave the hospital/centre alone and without notifying anyone well before he was advised to, he took off for Indonesia. Alone. And without telling anyone. He describes going to Indonesia as an incredibly visual place and describes the visons he created instead of his sight. He talks about the nature of vision and seeing; says that most people just see to avoid bumping in to things; and that walking down the street with an incredibly astute painter friend of his is an incredibly vivid experience, brought alive by both their visions. I found his story about New Delhi airport (he has visited India alone too) particulalry moving, but don't want to divulge too much. Whilst the words of de Montalemberts come alive the film's own material visuals do not necessarily relate directly to what he narrates. (Although the golden lights accompanying his description of his sight's deterioration into golden light is a particularly beautiful moment.) However, though a little detached from the narrative, they never seem inappropriate and often demonstrate their own beauty. At other times they emphasise the things de Montalemberts describes, such as the welcome he receives in Bali, or him writing 12 pages without realising that the pen's ink had run out (the next day a maid in the house he was staying tells him). To end, all i can do is repeat that this is an inspiring and beautiful film, and a must see (for my friends at the very least). You can enjoy it and the very diverse emotions it evokes, and learn a lot at the same time. Perfect.
A mysterious man turns good Samaritan, shooting his way through wave after wave of bad guys. And yet, from this simple premise, genius has grown. A series of inventive gun-fights carry this film, a good no-brainer where one can relax for an hour and a half without having to worry about such niceties as 'plot' or 'characterisation'. There is an attempt to tack on a daft storyline, which helps the action shift from scene to scene, but not heavy enough to detract from the action.
The film could be looked at as a satire upon the action genre, or as an inventive hour and a half, determined to give the audience what it wants. Stupid enough to come free with an eight pack of beer, the action doesn't let up and is a great thrill ride, ably helped by a great performance from Clive Owen a superb soundtrack.
4/5
Cate Blanchett is beautifully convincing in portraying the internal conflict of a woman of power. Elizabeth has the ongoing support of Francis Walsingham. However Elizabeth does not always agree with the wisdom of her advisors in matters of state and she stuggles to be impressed with the potential suitors marketed to her in order to form political alliances. Her emotional loneliness is demonstrated by her relationships with her first lady, Bess ( Abbie Cornish) and Sir Walter Raleigh.(Clive Owen) Blanchett with whom she illuminates Elizabeths empathatic character as well as her moments of emotional fragility. Elizabeths moral and emotional turmoi, regarding her cousin Mary Queen of Scots is considered in a different light to the jealous tyrant, depicted in some historical writings. This is congruent with her personal substitute her own maternal instincts with her quest to be mother to her people. The story of the Spanish Armarda is simplistically relayed, yet the detail on the ships, especially the horse jumping into the water is great for giving the outline to young history students. Blanchett is fantastic in every way but I hadn't considered Raleigh as an aquiescing character and Clive Owen was a little unconvincing. The plot by Phillip of Spain was confusing at times but became clearer towards the end of the film. A good film with a superb leading lady.
Ghost Dog is a hypnotic, eccentric and reflective film that is wonderfully typical of the intensely independent Jim Jarmusch.
Rather than being an archetypal action movie, Ghost Dog is more character-driven and revels in the quieter showdowns. It is edgy, unconventional and innovatively combines old-world samurai traditions and gangster lifestyles steeped in honour. It's possibly one of the most original movies ever made, but it's not for everyone.
Its structure, multi-level meanings and bizarre nature may be more pleasing to a cult-film enthusiast rather than a general movie-goer. The film has a superb sense of humour and glides through a myriad of different themes including loyalty, honour, friendship, race, literature and even, bizarrely, hip-hop.
Ghost Dog is brimming with surprising characters and great performances, notably by Forest Whitaker who plays a calm and lonely assassin who wanders effortlessly from harmony to composed ferociousness. His only friend is a Haitian ice-cream seller who does not speak the same language as him. Ghost Dog is completely detached from reality and uses the code of the Samurai as a guide for his life. He does contract killings for a gang of Italian gangsters, but one day a hit goes wrong and Ghost Dog finds himself as the target.
Verdict
Ghost Dog is beautifully written, stylish and meticulously structured film, with an inspiring topsy-turvy design. It's insightful storyline and warm wit is a tribute to the traditional values of friendship, honour and loyalty, however, be warned, its bizarre approach isn't for everyone!
I was horrified when Chriton and Erin died at the end of the Farscape series after being a fan all they way, even loving 1812 which Chriton programmed the DRDs to play, through the series that was my reward a shoddy ending I felt ripped off and upset that such a legendary character like Chriton was just killed off like that. I followed fan protests for a while but I was young and soon lost interest, I was very young at the time, I didn"t ever realise that the sci-fi, which I didn"t have then, played this final part to the series where Chriton and Erin are revived and face their most dangerous mission yet. I saw it as a movie on channel five one Friday and loved it, essential for any Farscape fan!
an excellent british version of friends very funny and entertaining.....................
Probably the best animated film ever, and like all Miyazaki's work is long. Not the usual dismal 70 minutes Disney give us nowadays, but three times that, and not just quantity, it's quality.It lngers in the mind and makes you watch it again, and again. Indeed it makes you collect all the others by Studio Ghibli- anyway that's the way it grabbed my attention. There are things here that are so incredibly inventive, so strange, yet they all come together. This is what cartoons should be about- to create worlds and things that normally cannot happen- but then if you can draw it, it happens. The music by the director's usual collaborator, Joe Hisaishi, is incredibly vibrant and adds another dimension to the action. On CD alone it's a work of art by itself. There are Hollywood stars who dub the voices into English; there are plays on words here at one level; there is the trauma of moving house; finding a deserted place- a favourite Miyazaki theme; it is episodic and each scene full of wonder. And here am I reviewing something that is supposed to be for children, and I am raving about it. That's the wonder of SPIRITED AWAY. It won the Oscar in 2003 for best animated film, and quite rightly so. All drawings were done on cell, with no computers. The slow way, the time honoured way. This is something so wonderful it should be made available on the National Health so people can reawaken their inner selves, and relive the joy of being young again.
My children think it is pretty good, too. The best cartoon they have seen ever.
Awful film. Pierce Brosnan is becoming lazy. The set is rubbish and James Bond having an invisible car? This film is the worst bond film you could get. I'd rather sit and do enough than watch this rubbish. Don't waste your money on this DVD. 1/10
'Descendants of Darkness' is a series which revolves around the 'Shinigami' or guardians of death.
The main character is Asato Tsuzuki who died when he was 26 and became a shinigami. Throughout the series the story of how he came to be a shinigami is revealed (as well as the identity and background of the misterious Kazutaka Muraki).
In the first episode we are introduced to Tsuzuki and his newly appointed partner, Hisoka Kurosaki. There have been a number of murders in Nagasaki and all of the victims have bite marks and a shortage of blood hence why the case is soon called "the vampire case". They are asked to investigate however Hisoka is kidnapped and Tsuzuki is forced to go on a 'date' with Muraki.
The story explores the relationship between the two partners and the sinister Muraki in a kind of love/hate triangle of mystery and deceit...
Cecilia (Keira Knightley) suddenly finds herself in a secret affair with Robbie, the housekeepers son (James McAvoy). The vivid imagination of a young Briony results in Robbie being accused of being a sex monster and subsequently locked up. The film cleverly shows how inoccuous events appear frightening and perverse through the eyes of a child. Robbie only escapes from prison by signing up as a private in the army. At this point the film starts to loose its way. Briony realises what she has done, but exactly how she comes to this realisation is not very clear. The imagery is weak and some of the 'punch' is lost as the film drifts to a rather clumbsy conclusion with Briony being interviewed as an old lady.
A good start but weak finish.
An excellant television series from the Uk. Considering that most of the best shows come from outside the Uk. However this series was left lacking. The character development was excellant but you spent far to much time on this and less on what was happening to the plot. There was still to many unanswered questions with the anomalies and Cutter's wife. What is she up to?
A loss of a major character in the final episode made me wonder what is store for the third series. Although I would like to see the return of Claudia Brown. Her replacement is to self involved. It makes you wonder how high her heels are going to be in the next episode or how short her skirt is going to be.
The developing relationship between Andrew Lee Potts and Hannah Spearritt character's is hinted at going further but it is only hinted at. Especially when Connor (Potts) gets a gorgeous girlfriend with a hidden agenda.
The only person who seems to have his finger on the pulse is Cutter (Douglas Henshall) Who knows something is going on behind the scenes but he thinks it is his boss and not his wife working against them.
A really good made for tv series.
This film starts in the rat infested projects where a young boy named "Fool" has to make some money for an operation for his mother who is ill. He then, with the help of his sisters boyfriend finds out that the landlord of his building also owns most of the projects and decide that he would be the best place to rob as it would most definitely contain something valuable. What they didnt know was that his landlord and the woman living with him are pure evil!
When in the house Fool soon realizes that they should never have broken in as he is the only one of the trio of burglars that is left alive. He only manages to escape with the help of the deranged couples daughter.
Now for the best and most gory bits of the film. As Fool returns to free the girl he finds out that there are more residents in the house! More chasing and frights ensue as Fool rescues the girl and people under the stairs from the sadistic couple.
This film is well worth the price and will make a great contribution to your dvd collection. Wes craven scores again with this fright filled film where cannibalism, murder, kidnap and insanely horrific storylines go hand in hand.
Although Cuththroat Island was said to be a flop it has given me many enjoyable experiences watching it. Its an above average action film with a decent cast. You cant go wrong with this film as people of all ages will think its entertaining and will root for the characters as they are on there quest for treasure.
Knocked Up
One of the first films in a while to make me laugh out loud! And this was watching on DVD, I normally only get those types of belly laughs in the cinema. You know how it is, in the cinema it"s easier to get carried away with a film. But this actually made me stop what I was doing and watch it "properly"...you"re all with me on this one right? You all surf the net, or at least make a cuppa, etc. when you"re watching a DVD? Thought as much. So, quite early on, in the nightclub scenes, Seth Rogen managed to have me in stitches with his dance moves; well, his one dance move. And that"s it; sucked in and interested in their story, it"s another belter from the same team that brought us The 40 year Old Virgin, Superbad, etc. Mainly, I don"t want to bother going beyond saying that they are FUNNY guys. But yeah, I will, being brief though....I think they capture perfectly the kind of young guys that we have created plenty of in recent years; that is, those stuck between having to be sensitive / tuned in to What Women Want; and wanting to just be one of the guys. To sum up, you can see that they are trying their best. But mainly this is Funny-Film-Land; hitting many more jokes than it misses. If you can take a joke, including many of the crude (some would say merely honest!) variety, this is well worth a look.
Some would argue that if the Church were as enthusiastic about eliminating paedophilia & idolatry from its ranks, as it is about film criticism & boycotting the likes of Nicole Kidman or Dan Brown: the world would be a safer place. But alas, it seems the Vatican's ecumenical hierarchy is often more concerned with glorifying its historical image, than they are with acknowledging & moving on from the mistakes of their past, though to his credit; Pope John Paul II took an admirable last stand by denouncing the invasion of Iraq and openly lambasting "western forces masquerading as democracies" as the harbingers of a "...new totalitarianism". That said, Catholicism's self-appointed leaders aren't entirely wrong about 'Elizabeth: The Golden Age', for it is a feverishly pro-Protestant picture, with Spaniards (much like the French in 'Elizabeth I') portrayed as absolute cads, facinorous Christian fanatics who get a right royal drumming at the hands of Cate Blanchet's QEI (though the Armada's earlier pasting en route to our shores by the Ottoman Turks, is only mentioned in passing). Shekhar Kapur's unexpected sequel to his hit, Oscar winning biopic 'Elizabeth I' (1998) is an intriguing, though sometimes boring, combination of period drama, romance and action, even its tagline: 'Woman, Warrior, Queen' seems better suited to Middle Earth than it does middle England, for as is the case with most historical epics; facts are malleable and dramatic license is used to the Nth degree, with filmmakers often sacrificing story for legend or bending timelines to suit the actors involved. Its' 1588 A.D. and England stands on the brink of invasion by the Spanish Armada; Phillp II's unstoppable fleet of imperial warships ready to bring the fledging Protestant sect to heel at the altar of Rome. Queen Elizabeth (an effortlessly good, if occasionally OTT, performance by Cate Blanchett) has to deal with an array of conspirators at home; most notably her imprisoned Catholic cousin Mary Tudor (i.e. Mary Queen Of Scots, played to the hilt by consummate scene stealer Samantha Morton), receive swarthy, swashbuckling explorer Walter Raleigh (Clive Owen) and generally mope around lamenting the unnatural restrictions imposed upon her by the burdens of duty.
One of the main differences between this and the original, is that 'Elizabeth' is now a fully fledged franchise, whereas its predecessor had a certain amount of leeway in its depiction of her bloody rise to power as part of England's burgeoning bourgeois mafia class: drug dealers, thieves and murderers the lot of them. Having each other whacked in sporadic acts of violence linked to their ongoing sectarian conflicts, familial feuds and personal vendettas. After all, who could forget Kelly Macdonald's bitter demise, Geoffrey Rush's in-house inquisitor Sir Francis Walsingham (who returns in this sequel) or executions ordered at the drop of a hat and swiftly carried out with little spectacle, drama or remorse. 'The Golden Age' however, is a different kettle of fish; for Elizabeth is now an iconic figure who can do no wrong: an armour clad heroine, political administrator and sometime matchmaker recreated in a mythical mould better suited to Blanchett's fairy queen Galadriel from 'Lord Of The Rings'. David Starkey would have kittens.
Still, that doesn't mean it fails to entertain: Samantha Morton is excellent as Mary Stuart, who elicits our sympathy in spite of her schemes and cuts a lonely figure as her best laid plans go awry; more Milady De Winter than Lady Macbeth, Morton is ably supported by underrated Irish actress Susan Lynch and Eddie Redmayne who plays the ill fated assassin Thomas Babington. Clive Owen's Walter Raleigh cuts a dashing figure in the Errol Flynn style, though it's difficult not to think of his hilarious: "...this is mental: I'm Clive Owen for God's sake!" cameo in 'Extras' as he romances Liz's lady-in-waiting (Abbie 'Candy' Cornish). 'The Golden Age' also marks a return to form for writer/director Shekhar Kapur, whose lumbering take on old colonial tripe 'The Four Feathers' (2002) kept with tradition by being just as dull as all the previous versions. Kapur is a fine director who commits some visually stunning scenes to film and employs a successful blend of intimate character development / political chicanery whilst saving the big guns for an exhilarating, and action packed finale.
And as for accusations of anti-Catholicism? I can understand how an oversimplified narrative stating that Elizabeth was only out to stop the Armada / Spanish Inquisition and treated her own Catholic subjects fairly, would be offensive to some Chritisians. For though there's no denying that the Christian Catholic Empire was a brutal regime, known to force conversions at the point of a sword whilst regularly burning Jews, Muslims & Protestants at the stake, this does not, however, excuse Protestant England's persecution of its innocent Catholic citizens with equally barbaric measures such as 'Priest Holes' and the like. But then again, this is neither a history lesson nor a documentary, and ultimately, one has to accept that in cinema, sometimes, everyone has to play the villain. Whether its an irredeemably evil 'British Empire' hacked to pieces in furious displays of righteous indignation by Mel Gibson's God fearing American in 'The Patriot', Muslims in every single episode of '24' or sadistic U.S. troops who get their comeuppance in 'Valley Of The Wolves: Iraq'. The only group of people who can't, it seems, be cast as villains in modern English language films without an international uproar; are Jews (worth mentioning since we're on the subject of Good Queen Bess), and that's probably because they built Hollywood with the bare hands of hired Gentile labour, thus have the right to do as they please until someone creates a better film industry. But if it irks the Catholic church that much, then they ought to invest some of their vast fortune into producing a film of their own. 'Elizabeth: The Golden Age' is a decent enough sequel with good cinematography, splendid costumes, successful evocation of the period and one of the best naval battles since 'Master & Commander', not a classic, but worth seeing. We are amused.
A long, long time ago (well, the 1980s) in a galaxy far, far away (Cleveland, Middle America) 'Lucasfilm's' Howard T. Duck was beamed to Earth via an experimental Laser Spectroscope.Unceremoniously snatched from his home planet; a place not dissimilar to Earth in that Howard smokes cigars, reads 'Playduck' magazine, carries his Mallard credit card and, like a feathered Charlie Wilson, bathes with loose ducks in his bachelor pad, our pint sized hero has no idea what the duck is going on and has to adjust to his new life in a real duck-out-of-water story. 'Howard The Duck' (1986), an infamous box office flop at the time, isn't executive producer George Lucas's finest hour, though how you couldn't warm to a movie that sees a talking duck romance a sassy rock chick (Lea Thompson of 'Back To The Future' fame), take her band (the memorably named 'Cherry Bomb') to the top, crack wise with a bumbling scientist played by none other than Tim Robbins(we've all got to start somewhere) and stop an alien Overlord invasion with the help of an armoured golf cart, is beyond me. Is 'Howard' a misunderstood cult classic, or a cinematic pariah justifiably shot to smithereens like its pixelated brethren on Nintendo's light gun phenomenon: 'Duck Hunt'? 'Howard The Duck' was a film of firsts for me; it was the first time I fully grasped the concept of lesbianism, and not by some PC awareness group shtick, but through the introduction of a butch biker gang dubbed 'The Slut Sisters'. 'Howard The Duck' also taught me that one shouldn't harbour an instinctively prejudicial attitude towards the concept of inter-species copulation, specifically between randy drakes & consenting adults, after all, the effects of dimorphism and eclipse plumage on aspiring rock stars with big-hair is an unknown factor in science, for Howard T. Duck and Lea Thompson's unique arrangement seemed to blossom into a healthy, if unorthodox, relationship. And who are we to judge?...incidentally, this film was aimed at 8-10 year-olds (is it any wonder it crashed and burned, or why George Lucas threatens legal action against anyone who brings it up in an interview?). 'What is, what was and what will be starts here' threatens its new, unnecessarily ominous, tagline; as if Howard were some kind of ornithological, midget messiah come to Earth to spawn a new world of human-duck hybrids, personally, I prefer 'A Breed Of Hero'. There's quite a bit of fun to be had with this movie, and notwithstanding some of the more questionable elements I've mentioned above, it's a perfectly safe, if overtly nonsensical, comedic comic book adventure that's watchable in the right frame of mind and should appeal to its new target audience: Nostalgia fans and retro kitsch aficionados. I doubt studios would let anyone get away with making something like this nowadays, for its a triumph of self-conviction over common sense, a film made with the best intentions that never quite found its true market, and though with the benefit of hindsight, we know cinema wasn't very popular in the mid-80s and Howard, like a lot of movies, waddled its way back into the black on VHS. Not great, not aw-fowl, some good one-liners and nice SFX from 'ILM': For nostalgia purposes only.
One of John Thaws almost unknown roles, a fantastic if abridged (after all how do you compress 3 years of campaign into a couple of hours)portrail of the trials and tribulations of Arthur Travis Harris, a man who will live in the annals of History incorrectly as a mass murderer of innocent people. The story unfolds with Harris taking full command from his Sector to the Head of the RAF Bomber Command in 1942 and finishes with the infamous Dresden Raid. The telling of this story is very accurate and does not try to cover any of the flaws or problems of the Campaign against Germany, but helps the viewer to understand why Harris was so bitter at the end of the wa and the only Major Theatre Commander not to get the recognition he deserved or his 'old lags' as he called them to recieve a campaign medal for the countless heroics they gave for their countries (The RAF was made up of all nationalities from the Empire, Occupied Europe and Volunteers from Neutral Countries)
Good atmosphere and story line.
I cant remember how many times I have watched this now.
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