Customer Reviews

8 1/2 Women [VHS]

5 star:		(2)
4 star:		(5)
3 star:		(8)
2 star:		(4)
1 star:		(5)

 

 

Typically bizarre and challenging Greenaway film about a man whose wife suddenly dies and can't get past the grief stage. His son moves in with him and they "reestablish" their relationship in a most unorthodox way. Literally. So the son concocts a way to help his father snap out of it. They turn the father's estate into a brothel of sorts with a strange array of women they "collect". This creates a rather Fellini-esque atmosphere and causes some friction among the ladies as well as a couple of their deaths. One woman challenges the rules and turns the tables on the men leading to the father's ultimate death wish and the son's turn to grieve. Greenaway allows the film to run from outlandish black comedy to sadly depressing---a gamut that kind've negates everything we've seen and experienced thus far. There's ample male nudity, bizarre costumes, a truly odd turn from Amanda Plummer as one of the women, striking color and rampant symbolism throughout which makes it a feast for the eyes. If you're a Greenaway fan it's an unusual ride. But I wouldn't recommend it for first time viewers who may find it heavy going.

When I consider the state of sex in American films today, "American Pie 2" comes to mind. The sex here is treated in the usual leering, juvenille manner. All of the people are young, and it's the women who are expected to disrobe, and hint at lesbian encounters. The scene where the two coeds demand that the two men kiss each other before doing each other treats anything from this norm as aberrant behavior. As long as the subject is treated in this cookie-cutter manner, our country will show sex, and not actually explore it as the strong human emotion it is.

The strong point of "8 1/2 Women" is that is challenges our thoughts of what sexuality can be in ways that are ignored in this country. The movie hits the ground running as we encounter the two main characters, a middle-aged man and his twenty-something son shortly after the older man's wife dies. We not only see full-frontal male nudity, a rarity in this country. But what is also somewhat shocking is not that they are interested in man-on-man encounters, but encounters between father and son. Sons wanting to sleep with their mothers have been explored before, but dad and son is something to think about.

After this eye-opening scenario, the movie continues to challenge. Faced with seemingly unlimited wealth, the two decide to build a sexual playground to try and appease what must be a major league middle-age crisis by the father. They encounter and recruit a handful of women to come live with them and play out their fantasies.

This is also where the film has it's strong points. The closest I can remember to this film is "Sirens", the Australian film that featured an artist surrounded by nubile females, among them Elle McPherson. But even that film was probably too hot for America to touch, and even this film filled it with very good looking women of the same cut. "8 1/2 Women" brings in all kinds of women from beautiful to hideous, dominent to submissive. Once again, it shows that while Playboy magazine shows an attractive cut of women, it is not the only source for sex in the world.

I'm not saying I agree with all the choices, and they are diverse enough where most people also would not go for all of them. But that's the good point of the movie. By busting through cinematic stereotypes of how we think about sex, it shows that it is a subject that can be pursued by anyone, not just the "beautiful people" class.

Peter Greenaway's films are always a challenge, even for his most devoted admirers. I am a member of that group. I traveled 90 minutes each way to see his new film '8 1/2 Women'. His films are incredibly (really, an understatement) complex, both visually and narratively. Like most filmmakers, he has his ups ('The Cook, The Thief, His Wife and Her Lover', 'The Pillow Book', 'Drowning By Numbers' and 'The Draughtsman's Contract') and his downs ('A Zed and Two Naughts', 'Belly of An Architect'). Unfortunately, '8 1/2 Women' is not one of his best.

I read a review of the film that stated it was his most accessible in years. Yes, I can see that. This means that Greenaway has stripped away six or seven layers of narrative that usually happen concurrently in his best films. He has dumbed down the visual style while retaining a story that is not very focused.

We seem to be experiencing a bit of a trend. Some of the most intelligent filmmakers are dumbing down their work to reach a new audience while dissatisfying their core audience. Woody Allen's latest film is a farce with none of the depth he is known for. The result? 'Small Time Crooks' will probably be his most successful film in years. Robert Towne created an overly simplistic blueprint for the stunts in 'Mission Impossible 2'. The result? The screenplay works, but the audience is told the core of the mission six times. Now Greenaway directs a film with one layer of narrative, robbing his own film of the richness and depth he has done before. What's next? Martin Scorcese directing Leonardo DiCaprio? Oh, that's actually happening.

If you have never seen a Peter Greenaway film, and most of you probably haven't, a little background is probably in order. Greenaway is a painter and spent some time doing set design for operas. He brings both of these sensibilities to his films. When the film is good, it is a glorious mixture of all of these elements creating truly beautiful films. His longtime cinematographer, Sacha Vierny, is a great asset to the visual style. He also likes to experiment with words and narrative. For instance, the beginning of 'The Pillow Book' combined a layer of film that had Japanese Calligraphy, the writing of the Pillow Book, and two separate scenes going on on top of that. Your eye is always watching something. Your mind is always working. In 'Drowning By Numbers', the numbers 1 through 100 appear in the actual film in some form or another. In 'The Cook, The Thief...', each separate room in an elaborate restaurant has a color scheme of it's own, affecting the color of the character's clothing. '8 1/2 Women' makes a brief attempt at combining various elements, showing pieces of the screenplay with insets of pachinko parlors. The rest of the film is set in a single estate. Frankly, most of the film appeared grainy.

A rich Geneva banker and pachinko parlor owner mourns the loss of his wife. His son tries to comfort his father and suggests, after watching Fellini's '8 1/2', that they fill the house with a harem of women. This will help the father to experience the variety of sexual activity that he has recently discovered and also make the house seem less empty. The pachinko parlors are really a very weak point of the story. It seems to merely serve as a method for Greenaway to introduce Asian females into the story line.

As the father and son populate the harem (with the likes of Amanda Plummer, Toni Collette, Vivian Wu and Polly Walker), they talk incessantly. In most of Greenaway's works, the characters have lengthy conversations, but they were far more interesting. He seems to be trying to shock us with words rather than images in this film. Yes, there is a lot of nudity, both male and female, but it doesn't shock. The discussions they have concerning beastiality, incest, etc., are simply boring.

His films also take a while to make it to the US. Because of this, he frequently can attract up and coming stars to appear in his films, usually nude, before they are really famous. As I mentioned, Toni Collette (Best Supporting Actress nominee for 'The Sixth Sense', 'Muriel's Wedding') appears in the film as a Swedish nun. In 'The Pillow Book', Ewan McGregor played a central part. He has also had Ralph Fiennes and Julia Ormond in his films.

Greenaway has created some of the best films I have ever seen and experienced. Greenaway is a master filmmaker and definitely deserves a larger audience. Unfortunately, this film isn't that good.

Peter Greenaway is a master at visuals. Most Greenaway films, such as "A Zed and two Noughts", "The Draughtsmen's Contract" and "The Cook the Thief His Wife and Her Lover", appear like a moving painting with vivid color and dazzling images. Although all are great films, their plots can be confusing with the lack of common dialogue and character development. 8 1/2 Women does have some very nice visuals, though less intense compared to his previous works, and a story line that is much easier to follow than prior films, with a bit more character development, but still peculiar circumstance. The film's focus is the unusual relationship between a newly widowed husband, Phillip(John Standling) and his son, Storey(Matthew Delamere). After a viewing of Fellini's 8 1/2, the father and son become inspired to "collect" a variety of women (8 and 1/2 - one being pregnant) for their physical and emotional pleasure, creating a distraction to the death of the wife/mother. Amanda Plummer and Toni Collette give strong supporting performances as two of the very bizarre women in the collection. The film moves slowly at times, but the right combination of excellent performances, bizarre characters, dry comedic dialogue and dazzling visuals make it a must see for Greenaway fans and independent film lovers. The sexual content and story line may make many viewers uncomfortable and confused. Definitely an acquired taste.

With this film Greenaway is not quite up to the high standard set by his previous effort (The Pillow Book), but neither is he deserving of some of the ferocious reviews that this work has received in the US. Too many US film reviewers seem to be unable to distinguish between 'connotation' and 'denotation'. Therefore they are repulsed or confused by Greenaway, who intends nothing to be exactly as it seems at first glance. All Greenaway films are densely laden with metaphor and bursting with imagery, and must be approached accordingly, not with the same mind-set that one would approach a typical Hollywood film, for example. Perhaps also helpful is a quote from Greenaway himself: "If you want to tell stories, be a writer, not a filmmaker."

I've recently found myself being pulled into a swirling vortex of obsession with the works of Peter Greenaway. The man creates such a distinct atmosphere with the staging of his films, the cinematography, and the sets embodying a lavishness and beauty that clashes against dark, audacious, perverse, and indeed evil themes to cause a fascinating cacophony. Much of his output could be classified as surreal simply because of this instantly palpable dissonance.
"8 1/2 Women" is no different. Yes, it doesn't have the viciousness of "The Cook, The Thief...", or the delicious puzzlement of "Drowning By Numbers", but what it does have is the unmistakable Greenaway atmosphere and an air of utmost dream-like elegance, once again grinding against frank sexual obsession and perversion and an uncontrollable spiral of loss and grief.
I'll leave the plot details that are to be found in other reviews, but will say that I found this film a joy to watch. From the very beginning (particularly the experimental and kinetic sequence that opens the film), I was enthralled. With Greenaway, sometimes you don't want to look, but you can't turn away (to spoil the surprise a bit, the infamous incest incident is not shown...only very strongly implied). As the film wears on, it does take on a more fragmented, slice-o-life type of approach, but the episodal manner in which the progress of the bordello is documented actually conveys the chaos well. In such an arrangement, the only way to really give an idea of the vibes surrounding the downfall of the house is to give examples, then tell us how it finally came to self-destruct... which is done. Those who complain about lack of closure can only be speaking about the question of what becomes of the son after the house empties itself, but how much do you want handed to you? The movie is 2 hours long! A case of "The meal was terrible.. and the portions too small!"
Speaking of which, I'll end the review saying that those who hated it.... give it another chance? You know by now that half of the magic of Greenaway's idiosyncratic films is visual. Nobody has denied the beauty of "8 1/2 Women". So let yourself sink into that odd beauty, and maybe you'll be able to appreciate the distinct and conscious style that the characters execute.

In most of his films, Peter Greenaway has at least an undercurrent of suggestion that the prime function of women is to ruin mens' lives, usually with the help of the men in question. This film, more than any of his others (with the possible exception of the excellent "Drowning By Numbers", brings this suggestion to the fore, by using it as a primary message, rather than as a symptom of the unravellings of the plot. Unfortunately (probably due to this approach), there are not many subplots present, and thus, the film lacks somewhat in complexity, as compared with some of his earlier work. An interesting nod to Bunuel's "That obscure object of desire" is present, in the form of earthquakes which happen at key points in the development of the film. The overall character setup (father and son, adjusting to the loss of their wife/mother) is similar to the that of the twins in "A Zed And Two Noughts", but the surrounding ensemble of characters is less varied, since in this case, it consists entirely of the women that the two bring to live at their house as concubines, and who gradually reverse the roles during the course of the story. Like all Greenaway films, this one is beautifully filmed and intrinsically disturbing; unlike most, it becomes actively involved in discussing film as a subject in itself, from the onscreen descriptions in text of each major scene, to the characters' habit of discussing the motives of various directors, most notably Fellini. I preferred this film to "The Pillow Book", most probably because I despise Ewan McGregor as an actor, but I cannot see it as being up to scratch with any of his earlier work, although for Greenaway enthusiasts, it is nevertheless a "must have". The sound and video on this DVD are outstanding.

I have found that Mr. Greenaway has been forgetting plot altogether in many of his more recent films. All's well with that if you replace plot with visuals so stunning as to make the film a moving painting or sculpture. It's something else entirely when you start to rely on clever "in" jokes with your long-standing audience.

Peter, we know you're clever and funny and brilliant so stop trying to prove it.

Just my two cents. It's still twenty times the better than any other film released in '99.

Peter Greenaway's films are always interesting. He's got his own provocative style. Whether it was retelling Shakespeare's "The Tempest" with an all-nude cast as in "Prospero's Books" or the nudity in "The Pillow Book" where a woman enjoys having people write on her body, you can rest assured that someone will probably disrobe before the end of the picture. In "8 & 1/2 Women," English actor John Standing whose career has ranged from "The Elephant Man" in 1980 to "V for Vendetta" in 2006 plays the head of a large corporation. As Philip Emmenthal he acquires panchinko parlors in Japan with strong-arm business tactics. Unfortunately, his wife passes away early in the film. This leaves Emmenthal grieving -- not for his wife necessarily but for someone to hold him. His son Storey flies home from Kyoto, Japan to the Emmenthal estate in Geneva, Switzerland. To comfort his grieving father, Storey takes off all his clothes and sleeps with his father. The two then go to see Fellini's film "8 & 1/2" and discuss whether it's normal for a son to sleep with his father. Even for the more liberal viewers, this is pretty strange. Philip & Storey then decide that what they need is a lot of women -- eight and a half, to be precise -- to distract the father. Vivian Wu who was in "The Pillow Book" as well as "The Last Emperor" & "The Joy Luck Club" plays a crazed panchinko addict who agrees to pay off her debts by sleeping with the pair. She flies to Geneva. Simato played by Shizuka Inoh in the only film I could find listed for her plays the Japanese business mind that has some control issues. She flies to Geneva. Toni Collette who was nominated for a Best Supporting Actress Oscar for "The Sixth Sense" in 1999 plays a nun who shaves her head (and other parts) and tries to gain salvation for Philip while wearing no clothes. In rides Beryl on a horse. Beryl is played by Emmy-winner Amanda Plummer who won her award for "Law & Order: Special Victims Unit" in 2005. Storey honks the horn, which makes the horse rear up & results in a severe back injury to Beryl. After returning the stolen horse, they adopt her and put her in a sheer plastic brace that allows Philip to massage the private parts on her chest while she recovers. Plummer stays on scene until she rides off like Lady Godiva through the fields. Polly Walker who did a great job in "Eye of the Killer" and was nominated for a Golden Globe in 2005 for the TV mini-series "Rome" plays Palmira, the seductive temptress with a high pain threshold. As odd as it sounds, the major theme I found was about the existence of God. At the end of the film, Philip is getting a nude massage that he equates to heaven and then passes peacefully. Palmira then refers to him as "the Almighty." Thus, for me, the film was about people who worship at the altar of their own bodies rather than seeking eternal truths such as Truth, Beauty & Goodness. That said, the film is beautifully shot. As the son Storey, Matthew Delamere who was in "Under the Skin" with Samantha Morton is a rather flat actor, both in body and emotional capability. If the film is not a success, I think it was because there wasn't more range in this lead actor. However, one must certainly admit that he had no hesitancy in walking around sans wardrobe. This is an interesting film, not entirely likeable, not completely moving, but worth an evening's viewing when the children are NOT around! Enjoy!

It's no wonder Peter Greenaway wants to quit making films; he is probably the MOST misunderstood filmmaker alive today. This film, his latest, is actually incredibly funny. In fact, the humor and wit are brilliant, ascerbic, sharp and penetrating. The characterizations are searing and engrossing. Highly recommended for fans of his oeuvre and novices alike.