[.ca] The English Patient

Amazon.com essential video:
Winner of nine Academy Awards and almost every critic's heart, The English Patient (based on Michael Ondaatje's prizewinning novel of love and loss during World War II) is one of the most acclaimed films of modern times. Hana, a nurse (Juliette Binoche), tends to an archaeologist (Ralph Fiennes) who has been burnt to a crisp in a plane crash. As their relationship intensifies, he flashes back to his overwhelming passion for a married woman (Kristin Scott Thomas). Meanwhile, Hana begins a new romance with a man who defuses bombs (Naveen Andrews) and Willem Dafoe almost steals the show as the thumbless thief Caravaggio. The intricately layered flashback narrative, sounding the depths of the lovers' hearts, improves with repeated viewings--especially with the sharp picture and digital sound of the digital video disc.

Amazon.ca:
Winner of nine Academy Awards and almost every critic's heart, The English Patient (based on Michael Ondaatje's prizewinning novel of love and loss during World War II) is one of the most acclaimed films of modern times. Hana, a nurse (Juliette Binoche), tends to an archaeologist (Ralph Fiennes) who has been burnt to a crisp in a plane crash. As their relationship intensifies, he flashes back to his overwhelming passion for a married woman (Kristin Scott Thomas). Meanwhile, Hana begins a new romance with a man who defuses bombs (Naveen Andrews) and Willem Dafoe almost steals the show as the thumbless thief Caravaggio. The intricately layered flashback narrative, sounding the depths of the lovers' hearts, improves with repeated viewings--especially with the sharp picture and digital sound of the digital video disc.

PASSION SWEPT UNDER BY THE CHANGING WINDS OF WAR:
Based on Michael Ondaatje's sweeping WWII novel, "The English Patient" is the story of a young Allied nurse, Hana (Juliette Binoche) who finds herself alone in an abandoned Italian monastery and tending to a mysterious burn victim (Ralph Fiennes). Like David Lean's Dr. Zhivago, this mystical and epic film is told through a series of flash backs integrated with a subplot that is supposedly taking place in the present. During the flash backs we learn of the tragic circumstances that have led to the current state of the stranger. Fiennes is Count Laszlo, an archaeologist - and assumed Nazi sympathizer - who is in love with Katherine Clifton (Kristin Scott Thomas). She, unfortunately, is married to the long suffering, dispassionate, Geoffrey (Colin Firth). The two are off gallivanting through the dessert in search of artifacts when the passionate relationship between the Count and Kate ignites. The resulting, all consuming, lust that overtakes these lovers is intricately balanced and compared to Hana's burgeoning romance with an East Indian soldier who defuses bombs, Lt. Kip Singh (Naveen Andrews). Willem Dafoe is brilliantly cast as Caravaggio - a man whose association with the allies (in a flash back) was exposed to the Nazis, the result being that Caravaggio had his thumbs brutally amputated with a switch blade. Caravaggio is determined to brutalize the man he believe is responsible for exposing his secret, the man he suspects is the burn victim lying helpless and dying in the monastery. Winner of nine Academy Awards "The English Patient" is a bittersweet love story between four people (two couples) who meet with untimely and destructive forces that ultimately alter the course of their lives forever. THE TRANSFER:This disc was previously released as a flipper from Miramax in a non-anamorphic and somewhat grainy transfer. The previous disc suffered greatly from the intrusion of pixelization and edge enhancement. It also lacked anything in the way of extras. For the most part, these oversights have been corrected on this newly remastered 2-disc special edtion. The picture quality exhibits marginal improvements in both clarity and fidelity, due in large part to the fact that this time around the disc has been enhanced for widescreen televisions. Colors are rich, bold, vibrant but at times tend to be garishly unbalanced. Occasionally flesh tones may appear slightly on the pasty side. Otherwise, there is a deep, textured look to the visual presentation that is thoroughly in keeping with the subject matter. Contrast and black levels are bang on. Fine details are nicely realized. Pixelization still exists and sometimes breaks up finer background information. Also, certain scenes tend to look as though some edge effects have been added. Again, all these shortcomings are relatively minor for a picture that will surely not disappoint! The audio has been remastered to 5.1 and exhibits a very visceral and thrilling sonic experience. The sound of Count Laszlo's plane flying over the dunes is both aggressive and stirring and the musical score is wonderfully spread across all 5 channels. EXTRAS: include a very comprehensive commentary by writer-director Anthony Minghella, producer Saul Zaentz and author, Michael Ondaatje. Minghella has more to say than the other two but all contribute fascinating tidbits to the production of the film and the inspiration for the novel. The deleted scenes segment is presented in a unique way - I won't ruin it for anyone but needless to say it's more refreshing than the treatment usually afforded deleted scenes. The CBC's documentary on the making of the film is somewhat of a disappointment, relying heavily on trailer junkets and very little but sound bytes from cast and crew. A series of featurettes round out the involvement of Zaentz, Minghella and production designer Stuart Craig. There's also a nice series of interviews with the cast and crew and a great featurette on Phil Brady, the stills photographer. BOTTOM LINE:The culmination of all this extra material and the rather impressive quality of the film transfer lead me to recommend "The English Patient" to all who love a good story and a thoroughly engrossing, great film.

Ownership, belonging and an earth without maps.:
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."

OVER THE DESERT, IN AN ENGLISH PLANE FLYING ON GERMAN GASOLINE...:
There is a scene in the movie, where Ralph Fiennes carries the wounded Kristin Scott Thomas into a desert cave. Over the threshold, draped in white he promises to always protect her. There were no priests, no family, no friends, no guests - yet, to me this is one of the most beautiful wedding scenes ever captured on film. 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 CASABLANKA. HIGHLY RECOMMENDED!

OVER THE DESERT, IN AN ENGLISH PLANE FLYING ON GERMAN GASOLINE...:
There is a scene in the movie, where Ralph Fiennes carries the wounded Kristin Scott Thomas into a desert cave. Over the threshold, draped in white he promises to always protect her. There were no priests, no family, no friends, no guests - yet, to me this is one of the most beautiful wedding scenes ever captured on film. 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 CASABLANKA. HIGHLY RECOMMENDED!

A Great Movie:
This movie is brilliant- one that fits with the novel almost perfectly. The actors shine, the pictures are wonderful. It is a believeable movie with no fake acting. This makes the experience incredible. Worth seeing, and buying. A+ and recommended to all! A must see!