Reviews

It's a strongest film I know. Every time I watch it, it bewilders me so I can't turn my eyes away from the screen, even though I remember all what happens by heart. It fills me with a strange mixed feeling of interest-sympathy-admiration-disgust-and-horror. One of the reviewers here called this film depressing, and I inclined to agree. Any picture of Berlin in 1931 must be depressing and frightening. But, on the other hand, there is an atmosphere of desperate reckless joy in the movie. When the entire world goes mad and speeds to a catastrophe, life is a cabaret! Do what you can, come hear the music play, don't permit some prophet of doom wipe every smile away, and end as the happiest corpse! It's one idea. There is also another, more humanistic: live and let live. Brian fails to understand Sally, so they fall apart. Fritz for the sake of his love faces the danger of admitting that he is Jew in Germany. There is no hope for him and Natalia in this country in this time. But he couldn't do otherwise. There are plenty of other ideas too: about money, politics, corruption, perverseness, decadence, stupidity of middle classes, talent, success, etc. The story is very simple and incredibly complicated in the same time. No use retelling it. It must be seen. It's life as it was in 1931 and in many ways as it is nowadays. I suppose that Cabaret would be a great film even without any musical numbers, but with them it is a masterpiece. They say that history repeats itself, for the first time as a tragedy, for the second time as a farce. Well, I would say that in Cabaret every event repeats itself for the first time as a human drama in life and for the second time as a farce on the stage, but it would not be exactly true. Life and farce are shown synchronically or farce even go in advance. But every staged number in divinely decadency Kit Kat Klub ruthlessly shows the naked truth of life. (Only Mein Herr and Maybe This Time have more to do with the character of Sally Bowles.) And of course, Tomorrow Belongs To Me must be mentioned separately. The way of German people towards fascism is presented in one startling scene. And in finale too. That distorted reflection of the audience full of Nazi, accompanied by a tense silence after Master's of Ceremonies ‘Aufwiedershen' is horrible. The movie due half of its unforgettable effect to the masterful camera shots. Actors' works are absolutely fantastical. Surely, Master Of Ceremonies is Joel Grey star role. He is amazing as that demonic shameless figure that seems to know everything, understand everything and deride everything. Liza Minnelli shines in every scene, acting, speaking, singing and dancing. I know few performances equally true, strong, brilliant and stylish as hers as Sally Bowles. Michael York is excellent as well, though he is often underestimated. It's only his character who is reserved, intelligent and avoids show-off. And he is perfectly British. I really admire York's acting in the movie. There are also beautiful Marisa Berenson as noble Natalia, Fritz Wepper very believable as tormented Fritz, repulsively attractive Helmut Griem as the rich scoundrel Maximilian and picturesque supporting cast. John's Kander's music is wonderful and haunting.

Shortly, Cabaret is a work of a genius, or it would be better to say of geniuses: Bob Fosse and the crew and the cast. And it's flawless.

I love the film. It is so pleasant! I've never saw anything particular interesting in the play, and the film has surprised me. A modernizing of some story is not always a good idea, but it works excellently in this case. Setting the story against the war makes it more touching and convincing to us. And at the same time the movie is a light dynamic musical. Tunes, that were used, are unfamiliar to me, and I don't have the feel of nostalgia, described by some other reviewers here. Nevertheless, the music is good, I like singing and dancing in the film. Branagh does his best as Berowne, and so do others. I like the way they speak their text, so easy and natural. The movie is really enjoyable, it's entertaining and moving and funny. Kenneth Branagh has a rare talent for adapting Shakespeare, and I think his comedies are the best (Much Ado About Nothing is brilliant as well). I admire him both as the actor and the director. Wonder, what interesting thing he will produce next? Meanwhile, Love Labour's Lost is well worth seeing, and more then once.

The film dazzled me! Stage-sets and costumes and lighting are so beautiful, colourful and inventive, they are a treat to look at. The music is lovely and the text is witty. There whole performance is full of fun. Any Dream Will Do and Close Every Door are the most powerful tunes in the musical, but other moments and songs are also excellent. The more I watch the film the more I enjoy everything in it – Jacob and Sons, Joseph's Coat, One More Angel In Heaven, Go, Go, Go Joseph, etc. The scene with the Pharaoh is astonishing, hilarious! However, I especially like Those Canaan Days, and Jeff Blumenkrantz (Simeon) does it stylishly. Dances are wonderful, remind of a carnival. The show is cheerful, joyous, inspiring. It really lifts me up. The cast is perfect – from Donny Osmond and Maria Friedman to the children. Donny is not only a good singer and a VERY handsome man, he's got an impressive dramatic talent. He's adequate in every scene – as young conceited dreamer, as stoic prisoner, as Brilliant Pharaoh's number two, but he is best of all in the end. He succeeded in keeping the situation tense while accusing Benjamin of robbery, and then the reunion of family is very touching. Maria Friedman is also outstanding – expressive, interesting, entertaining and strong-voiced. She attracts your attention through the entire show. Other actors, including Richard Attenborough (a fine example of a family man Jacob), Joan Collins (beautiful and wicked Mrs. Potiphar), Ian McNeice (cool and so fine Potiphar), Robert Torti (wonderful Pharaoh), all the brothers, Alex Jennings (the Butler) are excellent. I think, they enjoyed acting in the musical, so we enjoy watching them. Highly recommended.

Why this film is so underestimated? May be, because the same production looked better on the stage? Well, I've never seen it on the stage and am totally satisfied with the screen version. It is a wonderful mixture of a fair-tale dream and amusing comedy of characters and situations. The most startling thing about the film is the settings, which are colourful, imaginative, and picturesque, with magic lights. Costumes are also fascinating – artfully invented type of dressing for heroes of English boy's dream. I think that introduction of the boy is very clever and helpful in a film. The movie is beautiful and superbly performed. Alex Jennings and Lindsay Duncan act splendidly, and so does Finbar Lynch. But I especially like the love-quadrangle of Lysander-Hermia-Demetrius-Helena. Young actors are very spirited. Shakespearean text wasn't unnecessary edited and RSC actors speak it brilliantly. There is also a lot of fun. The production of that absurd Athenian troupe is just as ridiculous as it was meant to be, I think. I find plenty of things to enjoy about the movie; highly recommend it to everybody. P.S. Englishmen are extraordinary lucky to have the opportunity of enjoying RSC productions on the stage. What the rest of world would do without films?

It's one of the most delightful adaptations of Shakespeare ever made. Personally, I am a great fan of Shakespeare, but it seems that the film must appeal even to those who normally don't like the Bard. Kenneth Branagh is at his best both as producer and performer. I admire his imagination and ingenuity, which he applies to his work. He created beautiful, picturesque, entertaining, amusing and hilarious movie with awesome actor's work and fine music. Some cuts of the original play were essential to make the movie dynamic, and the play was not considerably damaged. All members of the starring cast make Shakespearean text sound natural, alive and very funny. Emma Thompson shines as bright ginger-haired Beatrice. It goes without saying that she's an actress of unique talent, and in this film she does an amazing job, being lively, sharp and witty, sparkling with energy, humor and cheerfulness, or sometimes vehement and passionate (when her cousin is offended). Branagh as Benedick is up to her. Other notable performances are given by imposing Brian Blessed (seigneur Antonio) and Richard Briers (seigneur Leonato). Robert Sean Leonard and Kate Beckinsale as Claudio and Hero are adequate and beautiful pair. Keanu Reeves is really good in the part of grim, villainous Don John, notwithstanding opinions of many reviewers here. Michael Keaton's Constable Dogberry and other comic characters makes me laugh a lot through the film. Definitely, this is an excellent film for enjoyment. 10/10.

The film does credit to Jane Austen's novel. The screenplay is very well-written, settings are wonderful and acting is fine. Sense And Sensibility is the romance at its best – complex, unhurried, intriguing and moving story, set in 19th century's British country. I usually find one weak point in Austen's works – that is a lack of direct speech especially in key moments. The movie solved the problem. There are just enough dialogues and plenty other things to enjoy – amusing details and minor characters, picturesque nature, elegant houses and two beautiful heroines with dramatic love-stories. Emma Thompson is certainly the star of the film. I've always considered her as an outstanding actress, but never knew as screenwriter. She made a really interesting and heart-warming adaptation of the novel as well as created convincing image of Elinor Dashwood, the heroine with ‘sense'. As Mr. Dashwood dies, his son from the first marriage inherits everything, and the second wife with three daughters gets no house and almost no income. They are hospitably accepted by their relative Sir John Middletone and occupy small modest cottage. The elder daughter Elinor is forced to become the head of the family for her mother and sister Marianne are too sentimental and unpractical, and Margaret is a child. Elinor manages housekeeping concealing in her heart affection to Edward Ferras, a bashful young man who seemed to be in love with her but never confessed it and went away to make his career according to the wish of his family. Dashwoods family gets acquainted with new neighbors and Marianne finds at once two suitors – respectable colonel Brandon and dashing Mr. Willoughby. The exalted girl madly falls in love with that romantically figure of Willoughby. Young man shows clearly that he likes her however… he turns out to be a wicked person and deserts her to marry on money, breaking Marianne's heart. Poor Elinor meanwhile discovers that Edward has been secretly engaged for five years to Lucy Steel. However, she hides her pain and becomes absorbed in her sister's illness. The end, of course, is happy. Emma Thompson and Kate Winslete are both superb in their parts, making viewers share anxiety, sufferings and joys of the characters. Hugh Grant is good as Edward, pleasant, quiet and affectionate; sometimes he exaggerates his shyness and awkwardness, coming to comedy, but he is still nice. Allan Rickman was a right choice for serious and noble colonel, perfect gentleman with troubled past who finds new love. To my taste, Greg Wise as Willoughby is not a type of man to die from love for, Rickman is better in every sense… but tastes differ. And he acts very well. Emilie Fransois shines as young Margaret; she is too daring for a well-bred girl of Austen's time, but it works in a film. Supporting cast is also excellent, some unforgettable performances add much to the atmosphere of the movie. Robert Hardy's Sir Middletone and Elizabeth Spriggs' Mrs. Jennings are masterpieces. Imogen Stubbs is excellent Lucy Steel, light-headed but mercantile and insincere girl. Hugh Laurie and Imelda Staunton amuse us a comic pair of Palmers. The direction, cinematography, costume design, etc – all is splendid. It's a pity that this brilliant movie received only one Oscar. Highly recommended (and so is Simon Langton's Pride And Prejudice).

Brilliant P.G.Wodehouse stories lose nothing from transfer to the screen. Of course, some series are better, some are worse, some are real masterpieces. In fact, I like all of them. Adaptation is really wonderful: amusing, dynamic, intelligent and sparkling with wit and humor. Leading actors are awesome. Hugh Laurie gives an unforgettable comic performance, masterfully imitating manners and way of speaking of typical young aristocratic idiot. Stephen Fry seems to be an unparalleled Jeeves. All series are well casted, though performers of several parts change. I especially like Elizabeth Morton as Madeline, Charlotte Attenborough as Stiffy and Richard Garnett as Gussie. The series entertain and cheer you up. As for me, I can't help laughing while watching them.

I really like Jane Austen's novels but I've never enjoyed them so much as I do enjoy this film. It's a treat for the eyes, mind and soul. The scenery and costumes are very beautiful. English nature and architecture provide the due atmosphere. Camera work is masterful. I admired the views as well as Lizzy did. The whole cast is ideal. Jennifer Ehle is wonderful Lizzy – bright, lively, interesting, strong-willed, intelligent and witty, not exactly the beauty but uncommonly pretty. She has wonderful laughing eyes and becomes irresistibly charming when smiling. As for Colin Firth… I can't even find words to describe how I love his Mr. Darcy. He is a perfect English gentleman, sportive, well-bred, proud, honest, noble and passionate (deep inside his soul, of course). Besides, he is incredibly handsome… The pair of gentle, good-natured Jane and Mr. Bingley is excellent too. Jane is simply perfect. Mr. Bingley seems sometimes a little too funny personage with that innocently transparent look of wide-open blue eyes. But it's OK, I like it. Mrs. Bennet is a comic masterpiece. However, we may pity her. Just think: FIVE DAUGHTERS AND NO INCOME (or expectations)! Shining Mr. Collins is also very amusing character though disgusting. Lydia is believably silly, coquettish, light-headed and merry. The screenplay perfectly catches the wit and humour of Austen's novel. The events are neither slow-paced nor crumpled; the movie keeps the intrigue vividly and leaves enough time to details and dialogues. Simon Langton, no doubt, is an extraordinary producer. His Jeeves and Wooster series are awesome. I highly recommend Pride and Prejudice to everybody: it's exquisitely charming romance with sense and humour.

I enjoyed the film greatly. It is extraordinary clever and witty with original, incredibly amusing dialogues. I didn't want any action in the movie: it was enough just to look at the characters and to listen to their speaking. Besides, it's very moving: background is highly dramatic, though on the surface you find the funniest comedy. The real life is like that, you know – a short way from tragedy to the farce. The plot twists unexpectedly but so naturally that I never doubted the possibility of such events. Actors' works are outstanding. Jack Nicholson is the unique actor, he gives an unforgettable performer as Melvin Udall. Helen Hunt is excellent: expressive, spirited, and stylish. You feel every emotion of Carol and sympathize with her. Greg Kinnear showed all his abilities in the part of Simon – the most convincing and likable gay character I've ever seen. I also admire Shirley Knight as Carol's mother – perfect! My favourite moment is that at the end of the movie where she listens behind the door and suddenly pops out to explain that `normal boyfriends' don't exist. It was great – so funny and so true! According to the story there is no such thing as `normal people' in the world, we are all crazy. So never mind being crazy – life is just as good as it gets! Both of lead actors deserved their Oscars, however two awards are too little for such film. At least, screenwriter and director must have had Oscars. And why there is no special award for `the best animal in the film'? Verdel is an irresistibly attractive creature, and so talented! The film entertains you and touches your heart deeply, makes you smile, laugh and cry, but never depress or bore. 10/10 in every sense.

The movie is exceptionally impressive with fantastical special effects. It is made much better than famous Titanic and superior to it in every sense. The plot is complex, it encompass long period including the story of main characters, beginning of the World War II in Europe, thorough preparations of Japan to attack on the USA, the bombing of Pearl Harbor itself and American reaction. I wasn't feeling bored or tired through three hours of the movie. War sequences (especially battles in the air) are stunning. To my surprise, relationships between heroes didn't irritate me as in the case of Titanic. They were quite believable and by no means stupid. I became rather anxious about destinies of the heroes. The cast is good. No one is outstanding, but all of them are adequate and pleasant. Direction is masterful. The atmosphere of the movie is patriotic and life-asserting without being unreasonable. The authors don't accuse Japanese of cunning attack or anything, and show the history as it was. Of course, there is not a single word about Hiroshima and Nagasaki. It's only natural, for that nuclear attack was not a military but political action – show-off, aiming to frighten Soviet Union. Creators of the film preferred not to allude to the shameful fact, and I absolutely agree with them. They made an excellent epic war movie which entertains and thrills the viewer (and doesn't lose good taste or good sense at the same time). Shortly, the film is worth seeing.

I was happy to find a lot of positive comments about the film I value so high; nevertheless I think it's underestimated. Indeed, it's not only one of the greatest movies ever made, it's a movie which can not come out of date. I would disagree with `Smatysia' from Houston: `The heroic liberal fighting injustice' is a theme whose time has not yet passed. A number of prejudices still live and there are still `a lot of ugly things in this world '. Though such cases as described in the story are impossible nowadays, it's the reason not to forget that they were possible ones, but to be proud of the society's development. We must be very careful and try to understand people considering things from their point of view (`You never really knew a man until you stood in his shoes and walked around in them'). My words may seem naive, but the film does not. It's very intelligent movie without becoming preachy or otherwise sentimental. You come to understanding what is right or wrong simply by sympathizing with the heroes of the story. Furthermore, it's a wonderful example of educating children rightly. Gregory Peck creates a splendid image of Atticus Finch, honest, dignified and courageous lawyer as well as wise and tender father, who is able to explain anything. I can do otherwise but admire him. The scene in the court is especially powerful; it moves me every time I watch it. On the whole, the film is interesting and charming with masterful camera work and beautiful music. The scenery really gives you a sample of what life was like in Southern states during the Great Depression. Children actors are fantastically good. They are so natural, you feel as participating in their small adventures, fantasies, new experiences and impressions. I would recommend this film to all – youngsters and adults. It's an unparalleled story about right way of living in the world and keeping your head high in spite of prejudices.

It has been one of my best-loved films for years. It never fails to move me, I'm never tired of it, I want to watch it every Christmas (and oftener)! For the first time I saw the film (only the part of it) by mere accident: I just switched on TV, and there was some old black-and-white movie. I always was unusually fond of black-and-white cinematography, so I became interested. At the moment George was about jumping into the water, but Clarence jumped in advance, and George came to rescue instead of committing suicide. The twist intrigued me. And when Clarence explained that he was a `second-class angel', who haven't got the wings, I actually lost my breath. The very idea of that absurd guardian angel seemed amazing. By the end of the film I absolutely loved it (and James Stewart)! Later I saw (and not once, of course) the whole movie and appreciated it better. It's so fascinating, nice and charming! The plot is very clever, combining drama and humour, tension and fun, reality and fairy-tale. Cinematography and music are beautiful. The cast is splendid. Everyone is convincing, but James Stuart is best of all. I can't help considering him and Gregory Peck as the GREATEST American actors EVER (sorry, all the other…). I'm really grateful to Frank Capra for the film. It teaches us true values without being preachy, boring or sentimental. It makes us understand and admire what is really good and worthy. After all, it explains that ordinary everyday Life Is WONDERFUL!

For years I've considered the classical soviet screen-version of Hamlet directed by Kozintsev (1964) as the best adaptation of the play. I still think it's a masterpiece, however now it fills the second place in my preferences and the first one belongs to Lord Laurence Olivier. To begin with, I was astonished to find out that scenery, costumes and make-up in Kozintsev's film clearly resemble those from Olivier's version. No doubts, our producer knew and appreciated earlier English movie and deliberately copied the settings. Well, I don't blame him: he used it successfully, but the lack of originality is somehow disappointing. The scenery is really wonderful: cold, gloomy, dark, gothic, haunting and even more impressive for being black-and-white. And then… LORD LAURENCE OLIVIER IS THE BEST SHAKESPEAREAN ACTOR EVER. No one else can make the 16th century Bard's text sound modern, natural, alive, expressive, exciting, clear and full of hidden before meaning. Indeed, soviet actors pronounce the text fantastically well, but in Russian: I mean in translation by talented Russian poet Pasternak. And recently I've become interested in reading and watching Shakespeare in original. And here Olivier is an unparalleled performer. He portraits his hero wonderfully. His Hamlet is dignified and noble, reserved and mistrustful, emotional and ruthless (when he knows it is justified), and deeply frustrated (for he is disappointed in everyone except the foreigner Horatio). He is willing to act and yet waits to understand what's happening better. However events take an unexpected course and lead to the final tragedy. At the beginning Hamlet is called `a man who couldn't make up his mind'. Well, I would choose other words: `a man who changed his mind too often', but it wasn't his fault – so were circumstances. And Olivier presents these changes very vividly and truthfully. He makes `To be or not to be' an unusually powerful scene showing Hamlet just a man who sees so much evil all around that he nearly commits suicide. He is stopped only by sudden understanding that death is unremediable and too frightening – natural thought for any sensible man, brave as he is. Such simple variant pleases me better than more sophisticated ones. Somebody may disagree with Olivier's conception of the character but everyone has to admit that while Larry acts he creates complete, convincing, living image of his hero (and very sympathetic, by the way). I also would like to mention Jean Simmons. She seems to be severely misjudged by most reviewers. Simmons is an excellent Ophelia – a simple, naive young girl, merely a child, affectionate, light-hearted, playful, flirting and exceptionally sensitive. An absolutely charming scene is that of Laertes' departure. Polonius makes his solemn speech and Ophelia all the time mischievously distracts attention of her brother. I like all Olivier's films for such amusing trifles. Gertrude is well chosen too, quite believable. Eileen Herlie clear shows that at the end Gertrude understands her husband's wicked game and takes the poison consciously. However, Claudius is not impressive enough, to my mind. To see a perfect thrilling Shakespearean villain you have to watch Kozintsev's film.

Of course the play is noticeably cut. I confess I miss Hamlet's passionate soliloquy `Is not this monstrous that this player here…', and also Rosencrantz and Guildenstern (they are important, for Hamlet faces the treachery of friends in their part). On the other hand more complete versions are rather overlong. I am not sure that Branagh's four hours movie gains anything from using the full text. This film is dynamic and worth seeing not only for the sake of Lord Laurence's outstanding performance, but because it is extraordinary interesting version of the familiar play.

The film precisely met the requirement to raise moral of Englishmen during the Second World War: it is cheering and inspiring. But in fact it is more than just a patriotic propaganda. Henry V, though made during the war, is an excellent beginning of the series of Olivier's Shakespearean films. I really like it as much as later Hamlet and Richard III. May be the play doesn't seem very distinguished when you read it, but the screen-version becomes exciting, complex and brilliant. It has the amusing beginning (clever allusion to medieval Shakespearean theatre), heroic main part (without unnecessary battle details) and touching happy ending (the scene of Henry wooing Princess Katharine moves me every time I watch it). Lord Laurence is so noble as the King Henry! You can really feel his inspiration and share his emotions. Whenever Olivier's a producer, it's his habit to focus the audience's attention mostly on the main character. Sometimes I think his selection of plays for filming was determined by the amount of time his hero must be on the stage. Well, to say the truth, it's perfectly justified! There never was and never will be any Shakespearean actor comparable to Laurence Olivier! His performance is superb. In the part of Henry the Fifth he is absolutely fascinating, far above any real monarch in dignity, nobility and attractiveness. In fact the whole film is fascinating and picturesque. Princess Katharine is very charming and adequate, and other actors are well chosen too. The way English actors pronounce Shakespearean text is always more natural and expressive than the way of any other nation's actors, distinguished as they may be. I dare say that Englishmen understand something about Shakespeare that we can't get. Anyone who truly estimates Shakespeare must love this film.

I just can't find words to describe how I like this film. It is the most magnificent film I've ever seen. And it is certainly the best work of Laurence Olivier. I came to learn about this film quite accidentally. I was watching on TV some program about Shakespeare's plays and their adaptations. There were a number of fragments from different films and from this one too… It was the moment where Richard is offered a crown, he refuses at first and then accepts. I was stunned when Buckingham approached Richard to congratulate and Richard suddenly made him kneel down and kiss his hand. The gesture was so majestic, imperative and full of evil triumph. I understood at once that it was a great film. I've bought VHS tape as soon as I've found it and I've already seen it about dozen times. It's superb. Everything is splendid – screenplay, costumes, scenery and acting. I like John Gielgud as noble Clarence and Ralf Richardson as cunning Buckingham, and especially Claire Bloom as gentle and unhappy Lady Anne. However I still admire Laurence Olivier more than anybody else. I just can't forget his terrific voice and acting at the scene of first Richard's monologue that reveals malicious ambitious, mercilessness and devilish ingenuity of the Duke of Gloucester. Another scene I adore is his wooing Lady Anne. Both actors are great. Olivier is so convincing and moving that I believe any woman could surrender. Olivier maintains high standards of these impressive scenes through the whole film until the final battle. Richard is desperate and courageous at the end, he is killed but his spirit is not broken (he can be afraid of ghosts, not real enemies). Shakespearean play is brilliant and the film is worthy of the original. It's the most glorious historical movie of all times. I recommend everyone to see it.

Julius Caesar is one of my favourite plays and this film is one of my best-loved screen-versions of Shakespeare. The original text is brilliant and it sounds even more so in the film. Marlon Brundo is a perfect Marc Antony. He really looks like a Roman nobleman. I absolutely adore the scene, after Caesar's death, when Brutus and then Antony make their famous speeches. Both of them are so convincing and impressive. The reaction of the crowd is very well shown too. John Gielgud does his best as proud and passionate Cassius. In scenes of Cassius's arguments and dialogues with Brutus and other conspirators he maintains the highest standards of Shakespearean performances, making the difficult text sound naturally. I don't care whether the film (and the play) deals with Roman history accurately or not. The presentation is very exciting and tragic. Every character, every word and every event are believable if not absolutely correct. I've seen the film about a dozen of times and I would recommend it to every one.

The best ALW music performed by the greatest musicians and singers on the magnificent stage of Albert Hall - it is enough to make a delightful concert. Add impressive decorations, spirited acting of the performers and excellent choirs and dancers - and you will get a superb show. During two hours you can enjoy lovely Joseph (with Donny Osmond, of course), clever Variations (very artistically played by Julian Lloyd Webber), dramatic Evita (only Paige's unique voice can reveal full splendor of Don't cry for me Argentina, and Antonio Banderas is the best Che ever), dynamic Starlight Express, solemn Requiem, passionate Jesus Christ Superstar (even though this musical is not among my favourite Webber's works I couldn't but admire Michael Ball singing Gethsemane), beautiful and mysterious The Phantom of the Opera with exquisite Sarah Brightman as Christine and Banderas proving that he can act Eric (AND HE CAN!), impressive Sunset Boulevard with remarkable Glenn Close, interesting Whistle Down the Wind (Tina Arena, Bonnie Tyler, Boyzone, Michael Ball sang differently styled fragments), wonderful Love Changes Everything (Michael Ball once again at his best), and of course famous Memory (another unforgettable performance from Elaine Paige). And the concert had to be so grand for the sake of Sir Andrew. I adore the moment when the entire cast sings `Happy birthday' to him. A charming scene! Furthermore, ALW presented his new masterpiece The Heart Is Slow to Learn sang beautifully by Dame Kiri Te Kanawa, and then a young star Lottie Mayor performed Whistle Down the Wind in the most engaging manner with Sir Andrew himself at the piano. My favourite Jellicle Ball (Cats) was used as the brilliant conclusion of the concert. It's a show to enjoy again and again and again!

The film is grand, combining Lloyd Webber's superb music, Hollywood's effects, masterfully direction and surprisingly fine actor's work. Antonio Banderas is a real star in the film; he adds passion, charm and humour to the story. It's a clever invention of Webber and Rice to introduce a narrator and commentator who helps the audience understand events better and makes us think. In fact Banderas does more than this. He portraits a complex character, angry, criticising, witty and even cynical on the one hand and very emotional with deep feelings and `impossible dreams' on the other. He makes Che one of the main heroes of the story. The last scene is very moving and tense, as Che confesses his sorrow for Evita and at the same time warns Peron of the future. Antonio's Spanish good looks and plasticity suit the role exactly. His singing is expressive and pleasant to hear, and the voice is very strong, good even for the hard parts such as The Lady's Got Potential (great moment, impossible for the stage). Madonna acts wonderfully. She really resembles Eva Duarte de Peron, and her performance is so believable and true that I forget sometimes I'm watching artificial scenes. I can't see the death scene without tears (How she lived, how she shined! But how soon the lights were gone!). However I'm not totally satisfied with Madonna singing. I do not mean that she sings badly, I only want to say that Elaine Paige sings much better. Nevertheless, some scenes (I'd Be Good For You, Rainbow High, You Must Love Me) I did like immensely, and her duets with Antonio I simply enjoyed (Goodnight And Thank You is very amusing, Waltz For Eva And Che is so spirited, it's a masterpiece). I also must mention Jonathan Pryce. He did great job as Peron. His every gesture, expression and look are correct, matching moments and situations. All crowd scenes in the movie are impressive and exciting, making you wishing to join the choir (A New Argentina, And Money Kept Rolling In And Out). I decided to watch the movie for the sake of ALW unforgettable music, but soon I found that Evita is more than a musical on the screen - it's classic. Director, producer, operators and actors did everything to create a powerful epic film, revealing struggles, splendour and tragedy of Eva Peron's life as well as giving a touch of unique Argentine 1940s atmosphere. I would earnestly recommend the film to everyone: it's dynamic, without one unnecessary moment, very interesting and touching and full of inspiring music.

Fantastic! The best musical and the best show of all times makes a magnificent film. It has advantage of showing everything in details and details are grand. Scenery, costumes and make-up are perfect. Music is superb (especially Jellicle Ball and Macavity). The best thing about the movie is certainly the cast. Actors not only sing and dance splendidly but also imitate feline movements and manners amazingly well. And how do they act! I absolutely adore Michael Gruber as manly and handsome Munkustrap. Elaine Paige as Grizabella would leave nobody indifferent. Veerle Casteleyn with her wonderful eyes is the most touching Jemima, John Partridge is irresistibly attractive and funny Rum Tum Tagger, Phyllida Crawley-Smith is very graceful Victoria, Jacob Brent is charming Mistoffelees, Aeva May and Rosmary Ford make a beautiful pair of adult cats: reserved Demeter and sensuous Bombalurina. Sir John Mills is a little unexpected guest star, but he is perfect Gus the Theatre Cat ("the star of the highest degree"). Eliote's text is witty, and there are a lot of amusing scenes in the show. My favourite ones are The Gumbie Cat, Mangojerry and Rumpleteaser, Pekes and the Pollicles, Scimbleshanks the Railway Cat. Watching this film is an endless joy for my family and me.