| |||||||||||||||||||||||||||||||||
From director J.J. Abrams comes the next installment in the Star Trek saga, Star Trek Into Darkness. See it at Cinemark theaters now and pre-order on Blu-ray, 3D Blu-ray, DVD, and the Exclusive Starfleet Phaser Gift Set. Shop Star Trek Into Darkness and more in the Star Trek Store. Learn more |
Frequently Bought Together
What Other Items Do Customers Buy After Viewing This Item?
Product Details
Would you like to update product info or give feedback on images? |
Special Features
Editorial Reviews
Amazon.com
Not surprisingly, a film that so daringly defied convention was hard to market, and after its failed release it was drastically re-edited and eventually released to video under no fewer than seven different titles. Fortunately, a single print of Gunn's original version survived at New York's Museum of Modern Art, its reputation rising through revival screenings until Ganja & Hess achieved cult status as a "lost" milestone of its decade. The DVD release preserves Gunn's original cut in superb condition (considering the film's turbulent history) and includes engaging commentary by surviving cast and crew and an insightful essay reprinted from Video Watchdog magazine. And while Ganja & Hess is certainly not for all tastes, there's no denying that its fully restored release on DVD represents an historic occasion that any cinephile should celebrate. --Jeff Shannon
Product Description
BONUS FEATURES: Audio commentry by the filmmakers; Restored footage; Featurette: ''The Blood of the Thing'' on the history of the production, photo gallery, Original screenplay by Bill Gunn (ROM Access); Article on the film by Tim Lucas and David Walker (ROM Access)
Customer Reviews
Many people call this film "confusing" -- however, it isn't confusing at all. It demands that the viewer make the same leap of faith we make when we read a text and simply "ingest" the action, the characters, and the narrative which is not immediately transparent. You are gonna have to work for it. Wait for it. Keep your eyes and ears open and really pay attention.
This movie does display some of the motifs of this era so there is full frontal male nudity, there are boobies of all body types, there is some stark reality, but this is one of those movies I would have loved to have watched as a young kid... but it is, perhaps, not for the youngun's.
James S. Hinton passed not too long ago and so it is really a joy to watch his cinematography... because it is true, this is an ESPECIALLY beautiful movie.
If you have watched too much Hollywood pap and have lost all sense of imagination, creativity... you should probably pass this one by because it is not giving itself to you the way in which you are used (i.e. it is not spoon-feeding you as much as leading you along a path, beckoning you to enter). However, if you remember and like some story with your entertainment, some meat with your movie, treasure thinking about the ways things happen: Watch this movie. You'll never thank yourself enough.
This DVD release is the full director's cut and that is all to the good. Yet this version of the film is hard to follow unless you have some backstory. For example, without knowing that the main character, a black intellectual, Hess Green, somehow came across a Myrthian dagger and then accidentally (or is it on purpose?) was scratched or stabbed with it by his assistant, George Meda (played by the director himself)--AND that this dagger's touch can bring on vampirism--you would never know how Hess got to be the way he was. The scene in which this is supposedly revealed has such vague exposition that it leaves you scratching your head trying to figure out how things got from point A to point B.
Yet the film also boasts some brilliant dream imagery, some of the best in any film from the 70s, if not since then as well. These dream scenes give the film tremendous power.
But the dream scenes are juxtaposed with other scenes that seem somewhat too long for their purpose, or that don't really go anywhere. For example, in one scene, deleted from the chopped version, Hess talks to his son--who looks to be about 13 or 14--speaking in French to him, asking him about his studies at his private school. This is no doubt meant to bring out Hess' social and intellectual standing as a man of culture and refinement. But the son is never seen in the rest of the film and the scene seems completely isolated from the rest of the movie.
In another scene, Hess visits a white woman from a trashy part of town. It's obvious what the purpose of the visit is, and this is no doubt to bring out Hess' conflicted character. This does work to some extent, in that later on, he goes to church, supposedly for absolution based on his deeds, but there is too much fragmentation of purpose working in this film to make it cohere.
It's a fascinating failure. Ganja Meda, played by Marlene Clark, is another frustratingly developed character. She discovers her husband, George, is dead, but while suspicion definitely points to Hess as the perpetrator, she's walks around mad for a couple of minutes and then is lovey-dovey with him.
There are threads here that do fit together and make sense and cohere and there are just as many that don't. This is not an easily followed film, nor one that lacks intelligence. With greater coherence, it could have been a brilliant film. As it is, it is an intriguing, seriously flawed work that comes this close to being an amazing, resonant film.
