The Hands of Orlac (1924) (1924) Review

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The Hands of Orlac (1924) (1924) ReviewI have waited since 1968 to see this movie which I first encountered in Carlos Claren's seminal book AN ILLUSTRATED HISTORY OF THE HORROR FILM which traces horror movies from 1895 through 1967. It has been worth the wait. In fact I was so taken with the film that I immediately watched it again and enjoyed it more the second time. Made in 1924 at the height of Expressionism in German silent cinema, THE HANDS OF ORLAC is the one of the finest examples of this genre that I have ever seen. Directed by Robert Wiene (THE CABINET OF DR CALIGARI) the film combines lighting, sets, camerawork, and performances into a dreamscape of enormous power.
The movie is like a hallucination come to life as we follow the descent of Conrad Veidt into the depths of madness. Veidt, more than any other silent performer, used his body language to illustrate and convey the most intense emotions. What really surprised me was the sensual almost erotic quality of scenes involving him and the two principal female performers Alexandra Sorina and Carmen Cartellieri. This adds an element not to be found in the more stylized CALIGARI and shows that there was more to Robert Wiene than we have seen so far. The story of a concert pianist whose amputated hands are replaced with those of a murderer has been remade a number of times most notably by MGM in 1935 as MAD LOVE with Peter Lorre. However none of those versions can compare to this one. Having said that let me also say that those unfamiliar with silent films will find this version tough going for it requires you to adjust your present day expectations to those of the silent era where body language and visual storytelling are everything. If you can do that then you should find THE HANDS OF ORLAC a rewarding experience especially on repeated viewings.
The restoration of the film isn't top notch (it resembles how NOSFERATU used to look) but thanks to a remarkably brooding and effective score from Paul Mercer you'll be drawn in before you know it and will hardly notice the imperfections. This is a much better film than THE CABINET OF DR CALIGARI and until other of his movies see the light of day to contradict the fact, THE HANDS OF ORLAC is Robert Wiene's masterpiece. Thanks to Kino International and the F.W Murnau Foundation for making it available.The Hands of Orlac (1924) (1924) Overview

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Les Miserables - The Dream Cast in Concert (1995) Review

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Les Miserables - The Dream Cast in Concert (1995) ReviewWords fail me when I try to describe this video. Les Miz is a glorious play, what with the genius of Boublil & Schonberg. I didn't think I would much enjoy this video because of its lack of actual set & acting and also the few short pieces cut. But it still blew me away. Best of all was the cast. It truly was the definitive edition.
Colm Wilkinson is just the perfect Valjean. His voice has such emotion & resonance to it. And he has such a strong presence as an actor.
Philip Quast was another excellent performer. I've once heard his voice described as "flinty" and I think that that's a good word for it. He really portrays Javert with such coldness, he makes the character quite vivid.
Ruthie Henshall's Fantine is one of those rare performances in musical theatre which simply cannot be surpassed. Henshall's voice is so stirring, heartbreaking, reverberating, deep, chilling, and beautiful. Her "I Dreamed a Dream" is excellent!
Michael Ball's Marius needs to introduction. He's THE Marius, what else is there to say? His voice so, so powerful and he sings with such heart. His "Empty Chairs At Empty Tables" is truly captivating.
Michael Maguire's Enjolras is often criticised. Yes, this wasn't the best performance he probably could have given and he did miss a few notes. But he still has a great voice. People argue that Anthony Warlow is a better Enjolras. While I agree that Warlow has the vocal edge, there's something in Maguire's performance that makes him so much like Enjolras and just so perfect for the part.
Judy Kuhn's Cosette was the one performance which I can say is good but not great. She didn't strike me the first time I heard her, though she has grown on me. She does have a lovely voice, but I just don't go for the whole "ringing soprano" thing. In fact, almost all Cosettes & Christines and the like in general just annoy me. I think Kuhn sounded better as Pocahontas.
Hannah Chick's little Cosette was SO adorable! She didn't miss a note during "Castle On A Cloud" which she just sang so sweetly. At the same time, she didn't seem to overact the sweetness, which I've seen all too many Cosettes do. And the way she kept singing after the stage light explosion was very professional.
And Adam Searles, gotta Love him. Similar to Maguire, I have heard Gavroches with better voices that Searles but he just has the part of Gavroche down so well. He just has the perfect street-wise, smart-aleck attitude perfectly.
I was shocked as to how many people disliked Lea Salonga's Eponine. Even more shocking was how people insisted that Frances Ruffelle was much better. I think Salonga was THE most phenomenal singer of the night. To me, Ruffelle sounds terrible! Many have called Salonga too "bitter" or "angry" but Eponine is a bitter, angry character! Salonga sings with such force, and at other times (e.g. "A Little Fall of Rain") with such sad sweetness. Her "On My Own" was so excellent that watching it is an intense experience. I could barely tear my eyes from the screen the first time I saw her sing it. I think there is no question that she's THE definitive Eponine. 'Course that's just my opinion.
All in all, this was the greatest performance of Les Miz I have ever seen!Les Miserables - The Dream Cast in Concert (1995) OverviewThe 10th anniversary of the international musical sensation Les Misérables is celebrated in this 1995 concert at London's Royal Albert Hall. The all-star cast features Colm Wilkinson (Valjean), Ruthie Henshall (Fantine), Michael Ball (Marius), Judy Kuhn (Cosette), Lea Salonga (Eponine), Philip Quast (Javert), and Alun Armstrong (Thenardier).Favorite songs from the Alain Boublil and Claude-Michel Schönberg score include "Who Am I?", "I Dreamed a Dream," "Master of the House," "One Day More," "Do You Hear the People Sing?" and "Bring Him Home."

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