Customer Reviews

Angels & Insects [VHS]

5 star:		(32)
4 star:		(22)
3 star:		(7)
2 star:		(1)
1 star:		(5)

 

 

This is a stunning period piece, awash with lush scenery and extravagantly beautiful costumes. It is also marvelously acted by all with virtuoso performances by Mark Rylance and Kristin Scott Thomas. The cinematography is breathtaking, and the movie could be characterized as a masterpiece. It is simply a cinematic gem.

The storyline revolves about an impoverished naturalist (Mark Rylance) who returns from the far reaches of the Amazon to England. Having lost his life's work in a shipwreck that he survived, he is taken in by the patriarch of a wealthy, upper class family. In return, he helps his benefactor catalog his eclectic nature collection.

The naturalist, a sensitive, intelligent, and kind individual, falls in love with one of his benefactor's daughters, the mysterious Eugenia, played to perfection by the beautiful and talented Patsy Kensit. He is, however, despised and mistreated by her boorish brother, ostensibly because of his low birth.

After the marriage, he begins an intense study of an ant colony, with the assistance of a poor relation of his benefactor. This poor relation is an intelligent, articulate, and well-educated woman (Kristin Scott Thomas). It is plain to the viewer that she, and not her wealthy and beautiful cousin Eugenia, is the one whom the naturalist should have married.

Meanwhile, there is clearly a deep, dark secret within the household. It becomes apparent early on what the secret must be. It is revealed several years into the marriage in a shockingly dramatic fashion, causing the forbearing naturalist to have the veil lifted from his eyes. This in turn acts as the catalyst for the poor relation to reveal her own secret passion.

This is a magnificent film that should not be missed by those who love period pieces and award caliber performances.

I strongly recommend this odd but fascinating film. The story is full of strange twists; the images are beautiful, the acting is superb, and A. S. Byatt's underlying message is disturbing.

We all know Victorian England was full of sexual repression and hidden obsessions but this film reveals just how pathological sexual secrets can become.

The story is that of a young working class entymologist whose research is supported by Sir Harald Alabaster. William Anderson, the insect specialist, discovers a beautiful moth in the Amazon and brings it back to England for Sir Harald, naming it after his beautiful eldest daughter, Eugenia. Sir Harald's wife is a rotund mountain of fat, producing children while being served hand and foot by servants, as if she were a giant termite queen. William falls for Eugenia, against all odds marries her, and then becomes part of a strange sexual pattern with his wife where he is invited into her bedroom for a night of wild sex, followed by her separation from him during her pregnancy. He is not usually invited back again except in this cycle of one-night-stand,pregnancy, new birth, and then one-night-stand. William's children and the younger children of Sir Harald have a nanny, Maddy, played superbly by Kristin Scott Thomas. Eventually William comes to understand the secret behind his wife's sexuality and through the support of Maddy, is able to divorce himself from the Alabaster household.

What is A.S. Byatt telling us? I think the film is telling us that as social creatures, we organize our work and society much like bee hives or ant mounds, full of hierarchy and division of labor and every opportunity for reflective thinking to be drowned out and for pathology to survive unchallenged.

Wierd and beautiful is hte best way to summarize this film.

When a husband declares, "We're going to be so happy," to his new bride early on in any movie, it doesn't take Jeane Dixon to know there's trouble ahead. And trouble there is for this pair, an impoverished naturalist (Rylance), just returned to Victorian England after years spent up the Amazon studying insects, and his high-strung, aristocratic wife (Kensit).

A tale of sexual passion and perfidy, Angels is a handsome costume drama based on A.S. Byatt's 1992 novel Morpho Eugenia. The naturalist, who is living off the generosity of a rich nobleman while cataloging the older man's insect collection, falls in love with and marries the man's daughter.

Rylance soon finds himself studying at close range some two-legged specimens far nastier than any to be found among his beloved creepy crawlers. His new wife and her boorish brother (Henshall) harbor a Big Secret, one that most viewers will guess early on, but it takes Rylance several years (and nearly the entire film) to figure it out.

The film's standout performance comes from Thomas (Four Weddings and a Funeral), who plays a poor relation of the rich family. Looking like a young Margaret Hamilton, she's the one who smartly sees Rylance for the true gentleman that he is and sets her bonnet for him.

Steamy, sexy, and strangely satisfying.

I will let others comment on the movie, and I agree with most of the positive comments it is receiving. HOWEVER - I am a big DVD buff, and picture quality is very important to me. This is probably the single WORST transfer of a movie from film to digital media that I have EVER seen (Save RAN). The quality wavers from mediocre to downright horrible throughout the movie, and it was so distracting, I really could not get into the film. C'mon MGM, couldn't you have spent a LITTLE more time and attention to get this right??? It is such a visually stunning movie, and to see it this way really disappointed me...

I've been waiting and looking in the stores for this marvellous movie for a couple of years, and was delighted to be able to ...order it from Amazon. This terrific movie has been marred by a DVD transfer which is simply one of the worst I have seen. MGM should be ashamed to release something which is so obviously technically flawed. The entire movie is out-of-focus, and there are ghost lines of the film frame's edges at top and bottom of the screen. Do they not have somebody with 20/20 eyesight to proof these things before they are mastered? There are also digital line artifacts throughout. Also, the Dolby 2.0 soundtrack is poorly done, with voices not properly placed in the center speaker, even when the character is centre-screen. This I can adapt to much better than the deplorable video, which ruined the stunningly beautiful cinematography. A disappointment, to say the least!

Strong performances highlight this film, set in Victorian England during a time when science and society overlap to reveal secrets of nature, as well as some of the deeper secrets born of the human condition, which, as in the case of those depicted in "Angels and Insects," directed by Philip Haas, were never intended for public disclosure, encompassing as they do, love, shame, ignorance and desperation, and all on a highly personal level. it's a film that points out that Man, the most intelligent and highly evolved species, without the accompanying responsibility often lacks the order and discipline of the common ant; and, unhappily (as this film so succinctly illustrates)-- such conditions do inexcusably prevail. And, that being the fact of the matter, in the end, all that separates us from the insects or the animals are the aspirations of those individuals who are determined to take us all to that higher level, no matter what the cost in terms of personal sacrifice, and in the final analysis, we are-- for better or worse-- only what we make of ourselves.

After ten years on the Amazon and surviving a shipwreck in which most of his work is lost, naturalist William Adamson (Mark Rylance), now lacking a home and means of his own, is taken in by his benefactor, Sir Harald Alabaster (Jeremy Kemp), who hires William to assist him with the writing of a book, as well as to tutor the younger of the children in residence on his estate. It's good fortune for William, who finds satisfaction in his work, as well as in making the acquaintance of one of Sir Harald's daughters, Eugenia (Patsy Kensit), with whom he quickly becomes enamored.

Eugenia, however, is a rather fragile flower, struggling with the inner demons of a dark secret born of unspeakable tragedy. A member of the family intimates to William the nature of Eugenia's distress, but though he then understands, he is prevented by class distinction and bloodline from assuaging her grief or pursuing her hand. He can offer only friendship; but as he soon discovers, where matters of the heart are concerned, friendship alone is a cold mistress. And despite his best efforts, the shadows that plague Eugenia's soul remain. William, though, is determined to break through her darkness and bring her into the light. But some secrets are better left buried, and before it's over, William may discover more than he bargained for.

Beautifully filmed and acted, working from a screenplay co-written by Philip Haas and Belinda Haas (adapted from the novel, "Morpho Eugenia," by A.S. Byatt), director Haas sets a deliberate pace, which along with the stunning cinematography of Bernard Zitzermann, gives the film a riveting, hypnotic effect. The scenes explode in vivid bursts of color that are so aesthetically appealing to the eye, and which create such a pronounced atmosphere and tone, that the viewer is eased into the drama and summarily swept away by the story. Initially, Haas plays down the enigmatic nature of the tale, but gradually exposes what lies beneath, shading the terms of his revelations so very subtly and effectively. The keen eye will detect hints along the way, but Haas is so discriminating in his presentation that the real impact of the film is decidedly reserved for the denouement, which is extremely effective. Haas understands the emotional terrain with which he is dealing, and it shows-- both in the innate perspectives of human nature which he so readily conveys, as well as in the performances he obtains from his actors.

As Adamson, Mark Rylance lends a quiet, personable charm that works perfectly for his portrayal of this man who has seen, perhaps, too much of the world, and as a result, by choice takes that which is pleasing to him at face value. It's an honest depiction of a just man, who views the world about him objectively and without judgment, which in the end, of course, is to his detriment. It is the quiet strength of Rylance's performance, however, that makes it so effective and emotionally involving.

Patsy Kensit does an admirable job of capturing the angst of Eugenia, this young woman who lives in a seemingly perpetual state of inner-turmoil. She creates a character that is sympathetic, but who evokes little empathy, which is quite in keeping with who Eugenia really is, the woman hiding behind the same mask that guards her unbearable secret. And it's effective work, too, inasmuch as she presents Eugenia as fragile, but not too vulnerable, which goes far in establishing the true nature of her character.

It is Kristen Scott Thomas, however, who gives the most memorable performance of all, as Matty Crompton, a member of Sir Harald's extended family. Scott Thomas, so extraordinary in such films as "The English Patient" and "Random Hearts," has never been better than she is here. Her portrayal of Matty is entirely honest, presented in terms that are so effectively subtle and understated, and which align so perfectly with the discerning approach Haas takes, that she successfully elicits the empathy of the viewer. This is, without question, an Oscar-worthy performance, coincidentally coming in the same year that Scott Thomas was nominated for Best Actress for her work in "The English Patient." It goes without saying that it was an incredible, memorable year for this incredible actor.

The supporting cast includes Douglas Henshall (in an extremely noteworthy performance as Eugenia's brother, Edgar), Annette Badland (Lady Alabaster), Chris Larkin (Robin), Anna Massey (Mrs. Mead), Saskia Wickham (Rowena), Clare Redman (Amy) and Paul Ready (Tom). The metaphor of the ant colony makes a thought provoking statement about the potential for dysfunction among the higher, more "intelligent" life forms in the absence of moral discipline and the responsibility carried by Man as the most highly evolved of all creatures. Engaging entertainment and much more, "Angels and Insects" is a plea for humanity to be the best that we can possibly be. And it's the magic of the movies.

What a teriffic film. It takes place in Victorian England at the country home of Sir Harald Alabaster (Jeremy Kemp), an aging, wealthy aristocrat who is fascinated by insects and the new theories of Charles Darwin. The estate has lots of insects. He has a pale, plump wife, a silly, beautiful daughter, Eugenia Alabaster (Patsy Kensit) and a supercilious, arrogant son, Edgar Alabaster (Douglas Henshall). Into this hothouse arrives William Anderson (Mark Rylance), a penniless explorer and entymologist, who is hired to catalogue Sir Harald's insect collection. Eventuallly Sir Harald dies, Anderson marries Eugenia, children are born, a nanny (Kristin Scott Thomas), as determined as an ant, takes care of the children, and...natural and unnatural selection becomes evident.

The actors are all first-rate. The movie has a stunning look, especially the costumes. The referencing to insects -- beautiful butterflies, single-minded ants, breeding queen bees -- isn't by accident. The movie actually has a satisfying ending, especially considering the secret Eugenia Alabaster shares with...well, no spoilers here.

One person said that the movie was like a cross between Merchant/Ivory and Tennessee Williams. Another wrote that it was like picking up a beautiful stone and finding nasty, squirming things underneath. True. It's a fascinating movie.

The DVD transfer is first-rate.

This was a fantastic picture! A young naturalist of humble origins, William Adamson, finds a scientific soulmate in the super-aristocrat Reverend Alabaster, and is invited to live with the Alabaster family to help educate the children and to help the Reverend with his naturalist studies. Unaccustomed to the opulent aristocratic lifestyle, William falls in love with the extraordinarily beautiful and glamorous oldest Alabaster daughter, Eugenia. The eldest Alabaster son, Edgar, resents the commoner's hanging on. Can William accomplish any worthwhile scientific work while surrounded by the idle rich? What if he could have Eugenia? Would she welcome William into her upper-crust caste? Is that where William wants to be? An amazing film, extremely well acted, I loved it. A movie you can sink your teeth into. Highly, highly recommended.

This strange but compelling 1996 film is based on a story called "Morpho Eugenia" by A.S. Byatt (who also gave us "Possession"). Directed by Philip Haas, it addresses sister-brother incest, a theme that crops up often in art and literature (think Siegmund and Sieglinde from Wagner's "Ring Cycle"). The sexual scenes are quite graphic, containing male frontal nudity (including semi-erect male genitalia), so this is for mature audiences. However, despite its topic and the explicitness of some scenes, the performances, script, and direction contain subtleties that stand in rewarding contrast to the film's shocking themes.

William Adamson (Mark Rylance), is a naturalist who is educated, handsome, and intelligent, but neither rich nor well-born. After years spent in the Amazon studying insects, William loses almost all of his possessions in a shipwreck. He finds employment, however, in the grand home of Sir Harald Alabaster (Jeremy Kemp), organizing and cataloging Sir Harold's insect collection; in gratitude, William names a moth he has discovered after his benefactor. The Alabaster household, although typically Victorian on the surface, is a bit strange. Lady Alabaster, flaxen-haired and obese, is nearly idiot. There are three adult children: two grown daughters and one grown son, and two younger daughters, who are looked after by a nanny, Matty Crompton (Kristin Scott Thomas).

Eugenia, the eldest daughter (Patsy Kensit), is in mourning for the death of her fiance, who committed suicide. Eugenia's unhappiness is exacerbated by the fact that her younger sister is engaged to be married. Eugenia, flaxen-haired like her mother, father, and brother, delicately encourages William in his attraction toward her, and, to William's surprise, Sir and Lady Alabaster approve the match. Deeply in love with Eugenia's gentle, ladylike prettiness, William can hardly believe his luck. Only Eugenia's older brother, Edgar (Douglas Hensall), is a fly in the ointment, as he harps upon William's undistinguished background, and upon bloodlines and genetic purity. William handles Edgar, who is actually a vicious bully, quite well, neither swallowing his insults nor allowing them to bother him much. Despite his sensitive looks and gentlemanly demeanor, William's experiences in the Amazon have clearly left him with a tougher core than that possessed by the blustering Edgar.

William and Eugenia are married, and at first William is deliriously happy. However, unease sets in soon, when, for example, he finds that for certain periods of time, Eugenia refuses him her bed and locks him out of the marital bedroom. He attributes these moods to a succession of rapid pregnancies, which produce five children (one set of twins) in just three years. The children are all pale, flaxen-haired replicas of the rest of the Alabasters, and although he says nothing, inwardly William is disturbed by his failure to warm toward them. With each childbirth, Eugenia briefly welcomes William back into the marital bedroom, and then locks him out again.

William begins to feel restless and to think longingly of returning to the Amazon and picking up his life's work again. He finds some comfort in a new project suggested by Matty, the nanny: the two younger children have found an ant colony in the woods surrounding the house, and have taken an interest in the ants' comings and goings. Matty, it turns out, is intelligent and observant, and a gifted artist. William becomes her and the children's guide in interpreting the ants' behavior, while Matty sketches the ants in their varied activities. Secretly, Matty and William put together a marvellous book of illustrations and text that anthropomorphoses the ants and their city.

Through this project, William becomes aware of Matty as more than just the children's nanny. While she is not beautiful as Eugenia is (Scott-Thomas is made to look quite plain, with her hair pulled tightly over her skull and little makeup), he notices her intelligence, competence, and slender, flexible wrists as she sketches. The contrast she presents to his fey, ambivalent wife heightens William's sense of something being wrong in his marriage and in the house, which seems alive with some knowledge that is denied him.

One day, shortly after William and Matty finish their book, William rides to hounds with the local hunt. However, he is overtaken by a servant who says that Eugenia wishes to speak to him. William returns to the house and walks into their bedroom, where he finds Eugenia and her brother, Edgar, having intercourse. William throws Edgar out of the room and confronts the distraught and miserable Eugenia, who confesses that her incestuous relationship with Edgar began in her early teens, and that while her fiance never had any substantive proof of the relationship, he suspected it so strongly that he committed suicide. Eugenia, in a scene of mixed horror and pathos, tries to tell William how much she wanted to be like other people, that she knew that the relationship with Edgar was wrong and tried to stop it, but could never resist its pleasures or Edgar's pressure. William realizes that it was Edgar's doing that he was locked out of the bedroom at certain times: to ensure that any children that Eugenia bore were Edgar's, not William's, ensuring the "purity" of the family line. Knowing that the children are not his, and moreover fearing that they are also genetically damaged, William tells Eugenia that he is leaving her - his only concession to her frantic fear of discovery is that he promises not to tell her father the real reason for his departure.

That evening, William joins Matty and Eugenia's sister and her husband, who are visiting, in a card game rather like Scrabble, that involves discarding letters and passing them to the next player. Matty passes to William her entire hand, which consists of one word: INCEST.

William visits Matty in her dark, plain, small attic bedroom. She denies having sent the servant after William that day to call him back to the house, but tells him that the "house knows things" and decides arbitrarily when to reveal its secrets. The horrified but determined William tells Matty of his plan to leave the Alabasters and return to his work in the Amazon. Matty, who sees no future for herself other than servitude in other people's homes, begs William to take her with him - she asks if he has ever really "seen" her or knows her real name (Matilda) or how old she is (28), and shakes her hair loose. William replies that he has seen her wrist, and he spends the night with Matty in her small bed. Moreover, Matty tells William that she has sent their ant book off to a publisher, who has enthusiastically accepted it, forwarding an advance that will pay their expenses. After initial doubts about the wisdom of taking a woman into the Amazon, William realizes that Matty is his real soulmate, and agrees to take her with him. William and Matty flee the Alabaster home before dawn, picking up a coach that will take them to a ship that will bear them away from England and the corrupt Alabasters forever.

The film is noteworthy for its contrasts: between its beautiful sets and costumes (it won an Academy Award for costume design), the mannered Victorian world it describes, and the sordid relationships festering underneath the manicured surface. The performaces are excellent, beginning with Patsy Kensit's fine work as the weak, tormented Eugenia. Douglas Hensall gives a bold performance as the brutal, psychotic Edgar. Mark Rylance as William and Kristin Scott-Thomas, the two sane brunettes in this household of incestuous blonds, are wonderful. The only quibble I had with the otherwise expertly crafted script is the failure to resolve the issue, despite hints in Lady Alabaster's nearly moronic character, of whether incest was a multi-generational disease for the Alabasters, and Eugenia and Edgar simply the next generation to carry it on. Other than that, this is a disturbing and fine film, and, despite its graphic depiction of sexual acts, can in no way be described as prurient or pornographic. Once seen, its effect will linger.

In a ruthlessly subtle way, this movie documents the intellectual fault-line created in the Western World by the publication of Darwin's THE ORIGIN OF SPECIES in 1859 and the growing knowledge from geologic studies that the earth is unimagineably old. In literary terms, the "Humpty-Dumpty" of Authority has fallen off the wall of tradition and Harold Alabaster is appalled and terrified by the picture of a ruthlessly impersonal universe emerging from such findings, but thrilled by the advance of human knowledge that has revealed it. The comfortable Alabaster Family is totally unaware that their affluence rests upon American slavery and the exactions of the British East-Indian Company or that their behaviors have striking similarities with those of the social insects. One servant recognizes the similarity of slavery among the ants and that within the warring United States and "prays nightly for the success of Mr. Lincoln's cause." The portrayal of Mr. Adamson's and Eugenia's wedding night intimacy is a unique viewing experience. Edgar's endlessly boorish behaviors are analogous to those of the universe. This movie is a tribute to the incisive intellect of Andrea Susan Byatt, and can be experienced as a briliantly told story or an intellectual tour de force; however, the latter can be better comprehended by reading MORPHO EUGENIA (type of Amazon butterfly), the novella on which the movie was based.