Product Details

• Actors: Richard Bohringer, Michael Gambon, Helen Mirren, Alan Howard, Tim Roth
• Directors: Peter Greenaway
• Writers: Peter Greenaway
• Producers: Daniel Toscan du Plantier, Denis Wigman, Kees Kasander, Pascale Dauman
• Format: Color, Anamorphic, Widescreen, NTSC
• Language: English (Dolby Digital 2.0 Stereo)
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 2.35:1
• Number of discs: 1
• Rated: NC-17
• Studio: Starz / Anchor Bay
• DVD Release Date: March 13, 2001
• Run Time: 124 minutes
• Average Customer Review: 3.9 out of 5 stars  See all reviews (164 customer reviews)
• ASIN: B000059LGL
• Amazon Best Sellers Rank: #54,997 in Movies & TV (See Top 100 in Movies & TV)
• Learn more about "The Cook, The Thief, His Wife, and Her Lover" on IMDb

Editorial Reviews

Amazon.com

Few directors polarize audiences like Peter Greenaway, a filmmaker as influenced by Jacobean revenge tragedy and 17th century painting as by the French New Wave. The Cook, the Thief, His Wife and Her Lover is both adored and detested for its combination of sumptuous beauty and revolting decadence. A vile, gluttonous thief (Michael Gambon, The Singing Detective) spews hate and abuse at a restaurant run by a stoic French cook (Richard Bohringer, Diva), but under the thief's nose his wife (the ever-sensuous Helen Mirren, Prime Suspect) conducts an affair with a bookish lover (Alan Howard, Strapless). Clothing (by avant-garde designer Jean-Paul Gaultier) changes color as the characters move from room to room. Nudity, torture, rotting meat, and Tim Roth (Reservoir Dogs) at his sleaziest all contribute the atmosphere of decay and excess. Not for everyone, but for some, essential. --Bret Fetzer

Most Helpful Customer Reviews

104 of 115 people found the following review helpful

5.0 out of 5 stars Oh my goodness! June 15, 2004

By Jeffrey Leach HALL OF FAMEVINE™ VOICE

Format:DVD

I went into Peter Greenaway's "The Cook, the Thief, His Wife, and Her Lover" with blinders on. I had absolutely no idea what to expect as the movie started, none whatsoever. I slightly suspected the director made "art" films due to a faint recollection of a discussion I saw on a bulletin board years ago, but that was all I could remember. Heck, I thought Uma Thurman was in this film for some reason! Obviously, this was my first experience with Greenaway, a director I have since learned is noted for creating disturbing films designed to upset audiences. I'll bet this masterpiece had arty types fleeing for the doors! Boy, I wish I'd seen this in an art house when it came out. I'm used to seeing films dealing with subject matter far worse than this one, but viewers who spend their time watching pictures about relationships and strolls through a park on a sunny day aren't. Yes, Greenaway's film deals with abhorrent themes expressed in undeniably grotesque forms. Yes, the picture has ugly scenes of violence. Yes, relationships of a decidedly revealing nature play a big part in the plot. What did you expect from a NC-17 rated picture? Don't worry-you can handle it. Actually, you'll probably be glad that you sat through it because this is a marvelous movie.

"The Cook, the Thief, His Wife, and Her Lover" starts on a particularly memorable note. Big time gangster and thief Albert Spica (Michael Gambon), his wife Georgina (Helen Mirren), and his entourage pull up to the back door of a fancy restaurant run by the fabulous French chef Richard Borst (Richard Bohringer), ready for a night of fine dining and obnoxious behavior. Spica is a notorious brute, a beefy, sadistic thug who enjoys tormenting everyone around him, especially his wife Georgina.... Greenaway sets the tone immediately by having a pack of dogs snap and snarl outside the restaurant as Spica presides over the humiliation of an underling. The bad behavior continues inside as Spica and his miscreants throw food, insult the staff and fellow customers, and generally make fools out of themselves. Night after night, Spica and his band of dangerous ruffians return to the restaurant, tormenting Borst and his staff as the restaurant's business drains away. No one, it seems, wants to spend an evening eating next to a guy like Spica.

One gentleman seems relatively unbothered by the ruckus a couple of tables over. Michael (Alan Howard), a scholarly looking librarian who always reads a book while he eats, simply ignores Spica's loud theatrics. When he makes eye contact with the gorgeous Georgina, however, sparks fly. Within minutes the two are in the bathroom madly pawing away at each other. The clandestine affair continues night after night, with both Michael and Georgina continually aware that Albert Spica or one of his goons could discover the tryst at any moment. Eventually, the staff of the restaurant plays a part in helping the two lovebirds meet, allowing them to use the nooks and crannies in the cavernous kitchen and deflecting any suspicions posed by Albert. Georgina uses Michael as a respite from her vicious husband, a chance to escape his obnoxious behaviors if even for a few precious minutes. Spica's wife soon finds the strength to flee from Albert, moving in with Michael in his library. The thuggish Albert flies into a rage over his wife's disappearance. It's not that he cares for her in any way (he definitely doesn't), but his massive ego cannot stand the idea of her being with another man. Spica tracks down Michael and has him murdered by stuffing pages from a book about the French Revolution down his throat. The conclusion to the film is one of the most memorable in recent film history.

After I watched Greenaway's film, I looked a few things up. Some bright film critics in England see this picture as a critique of the Thatcher years, with Spica standing in for the right wing, Georgina as England, and her lover as the hapless political left. Maybe, but I didn't see any of that in the film. I spent too much time chuckling over the coarse behavior of Spica and his goons-one played by Tim Roth in an early role, by the way-and enjoying the stunning Helen Mirren. She's so beautiful here that your heart aches over the indignities she suffers at the hands of Albert. She's also not afraid to do some daring scenes, a lesson she probably learned from her role in the Tinto Brass and Bob Guccione classic "Caligula," made some ten years before this film. If you still need to a reason to watch the movie, if the political symbolism and charged situations leave you cold, check out the great musical score by Michael Nyman and the sumptuous atmosphere of the restaurant. The colors and décor of the dining establishment take your breath away, and Greenaway further uses color by having people's outfits change hue as they walk from room to room. What does it all mean? Who knows, but it's fun to watch.

The DVD version of the film I saw didn't have much in the way of extras besides a trailer and a widescreen picture transfer. No matter, though. The movie is challenging enough to make you forget all about commentaries, stills, and any other of the usual extras. After watching "The Cook, the Thief, His Wife, and Her Lover," I would like to see other Peter Greenaway films. Unfortunately, most of them have not received a reissue on DVD. If the subject matter is as disturbing as this film, no wonder! I recommend renting this movie and then inviting some friends over to watch it. Don't tell them anything about it beforehand, though. Just sit back and watch the jaws drop. Read more ›

101 of 118 people found the following review helpful

5.0 out of 5 stars This demands a widescreen DVD version December 22, 1999

By alaska VINE™ VOICE

Format:VHS Tape

I don't get it. Leprechaun 2 is available on DVD, and this isn't.

I remember when this was released, it had just gotten a very positive review in the NY Times, and the theater was packed. Well, by the end of the film, there were plenty of empty seats. I've never seen so many people walk out on a movie, or in such a steady flow. It was as though the people who found it distasteful had very different levels of tolerance, or perhaps that the film offered an unusually broad selection of potentially offensive subjects. There were actually people who walked out during the last 10 minutes. Still, there were plenty of viewers who were transfixed by this exquisite film, including me. In fact, I had to go see it again the very next day. I can't remember being quite so affected by any movie.

Helen Mirren and Michael Gambon are both very good here, but what really sets this film apart are the stunning, painterly compositions and the lush cinematography (by Sacha Vierny). The brutal violence, the dialogue, the characters and plot all serve as a background to the film's dazzling visual spectacle. This inversion is somewhat typical of Peter Greenaway's films in general, but this is perhaps his masterpiece. In short, I can't imagine a more necessary addition to the DVD canon.

28 of 30 people found the following review helpful

5.0 out of 5 stars Deliciously grotesque June 13, 2000

By Kali

Format:VHS Tape

If you want a film that will churn your stomach, make your eyes water and have you flinching in a way you never thought possible then this film is DEFINATELY for you. I didn't think I would like it at all, but it is one of the best offbeat films I have ever watched. Helen Mirren is superb as the down trodden wife of a vicious gangster played to perfection by Michael Gambon. Set in a restaurant we are treated to a visual feast of decadence galore as each night Gambon and his cohorts meet in the same restaurant to enjoy the culinary delights of Richard Bohringer who plays the restaurant's cook. It's not long before Helen Mirren finds comfort in the arms of a fellow diner, and their first encounter is in the ladies toilet where they succumb to their passion. It's not long before they enjoying more than just the food in the restaurant each night, and the Cook and his staff discreetly ignore their illicit meetings. However the deception cannot last and Gambon finds out that his wife is being unfaithful and extracts a horrific revenge on Helen's lover. But Helen has found in herself a strength she never knew she had and with the aid of the Cook, she organizes a counter revenge that is shockingly outrageous but totally appropriate. Peter Greenaway has created a masterpiece in "The Cook, the Thief, his Wife and her Lover," it is visually stunning, utterly grotesque, totally disgusting in parts and so outrageous it is no wonder that people walked out of the cinema before the film had ended. However, if you want something that shocks the socks off you then get buy or rent this film. It's deliciously grotesque and it is a shame this film is not yet available on DVD.

19 of 20 people found the following review helpful

5.0 out of 5 stars Greenaway's Best April 13, 2005

By thornhillatthemovies.com VINE™ VOICE

Format:DVD

"Bon soir. Welcome to Le Hollandaise. You have a reservation? Many reservations? We are the best restaurant in all of London. It is not necessary to worry about eating at Le Hollandaise. Let me show you to your table. This way, please. Ignore the buffoon at that table."

Le Hollandaise is the fictional restaurant setting for Peter Greenaway's controversial 1989 film "The Cook, The Thief, His Wife and Her Lover". It was my first exposure to the work of Peter Greenaway and I fell in love. "Cook" is also Greenaway's most well known, most controversial and, therefore, financially successful film. After watching the film, watching many people walk out, I sought out Greenaway's earlier works and have been a faithful follower of his new films.

The Cook (Richard Bohringer) is the owner of Le Hollandaise, a grand, snooty restaurant serving the elite of London's upper class. He has a reputation for creating the most wonderful dishes. The Thief (Michael Gambon) makes himself a partner of the restaurant, forcing his favors upon the Cook and holding court in the restaurant every evening. His boorish manners and atrocious attitude towards everyone begins to have an effect on The Wife (Helen Mirren). Georgina can't stand her abusive, stupid, loud husband. One evening, she spots The Lover (Alan Howard) sitting alone at another table, his face buried in a book. He looks up. Soon, he follows her into the ladies room and they begin their affair under the nose of her husband. Each night, they become closer but also come closer to getting caught. The Cook soon aids in their liaisons.

In any Greenaway film, the most important aspect of the film is the design. This is closely followed by some sort of system and the story and subject matter closely follow that....

The Design

Greenaway is a rare filmmaker. Like Spielberg, Scorcese and Soderbergh, he is obviously very passionate about his films, a passion evident in the skill and craftsmanship involved in making his films. Greenaway started out as a painter and this is an important thing to know. It informs his work considerably, much like we are aware of Scorcese's Italian heritage when watching a classic like "Goodfellas" or "Raging Bull", or Spielberg's early attempts at making science fiction films when we watch a classic like "E.T." or "Close Encounters of the Third Kind". When you learn that Greenaway is a painter, his film compositions become all the more interesting and complex. Each frame is meticulously composed; every detail worked out to the smallest piece of fabric. You will not see a film that looks like "Cook" again in your life. Greenaway has worked with the same cinematographer on a number of films. He and Sacha Vierny have created a rich body of work that is a sumptious treat for the eyes. Each of the frames of "Cook" seem to pay tribute to Dutch painters like Vermeer and Rembrandt. Our viewpoint is usually from a distance, creating the impression we are looking at a living painting. The film takes place in the large rooms of the restaurant, with a couple of brief, very memorable trips outside and to one other location, each of the rooms lit as they might be for a painting from the 16th Century. The architectural design and cinematography of "Cook" stands as a testament to film design.

Color

Each room not only has its own look, but its own feel as well, complemented by the design of the interior. The kitchen is functional, busy, and perhaps not completely clean. The dining room is grand, pretentious and obviously very expensive. The bathrooms are functional yet large as well. Each room of the restaurant is bathed in a particular color. The main dining room is filled with luxurious red velvet and red draperies and table clothes. The bathrooms are bright white. The kitchen is bathed in green. The predominant color of each room not only dazzles the viewer visually, but also serves to help create different feelings for the scenes. Georgina and Michael carry on their affair in each room of the restaurant and each of their trysts is different due to the functionality of the room.

The Good Bits

In preparation for this opinion, I watched the film again, to refresh it in my mind. I remembered that each of the character's costumes changed each night they visited the restaurant. Georgina wears a number of outfits that are always predominately black, but they always features a scarf or swath of fabric over the shoulder. Albert, the thief, usually wears a cumberband or sash. As they move from one room to the next, these accessories change color as well, reflecting the hue of the environment. I remembered that this particularly struck me. It seemed very dramatic, almost operatic. Watching it again, I realized that not every character is affected in this way. As the main characters move from one room to the next, the camera passes behind a wall, much like a live television broadcast from the 50s, before entering the next room. The camera passing behind the wall hides the editing involved and the characters enter the new room in the same clothes, but with different color accents. The costumes, designed by Jean Paul Gaultier are as interesting as the design of the rooms. Georgina's clothes become increasingly S & M inspired. Albert's clothes become noticeably gaudier. These elements add so much to the feeling and mood of the film.

Generalizations

Every Greenaway film I have seen has some sort of system at the basis of it. "The Pillow Book" was fascinated with Japanese calligraphy and this becomes a significant part of the story and design as the main character begins to write on her lover's body. "Drowning By Numbers" hides an ascending series of numbers in the visual composition as three generations of women in the same family all deal with philandering husbands. "The Belly Of An Architect" tells the story of an American architect building a structure in Rome that is much more complicated than he can handle. The film presents increasingly elaborate architectural designs between each scene. Greenaway's first feature "The Draughtsman's Contract" follows the adventures of an 18th Century draughtsman as he completes a commission to draw the estate of a wealthy woman. The progression of the drawings and the clues within provide a loose framework for the story. The systematic element of the story is one of the things that I always look forward to. The puzzle always adds something extra to watch and look for.

In "Cook", the characters go to the restaurant every night for a week. During each visit, the thief becomes more obnoxious, deplorable and despicable. Georgina becomes more desperate for love. The cook becomes more anxious to get rid of his unwanted partner. Each segment is introduced by a menu announcing the Specialities Du Jour, surrounded by the food specials of the evening. The menu is very elegant, pretentious and fitting for such a restaurant. The food surrounding the menu has a connection to one of the elements in the story. On, no, I will not, can not reveal that.

Greenaway's films address the issue of class. Characters are entrenched in the middle class, desperate to achieve riches, a place in society, comfort. Their actions prompt the main action within the story. In "Cook", the obnoxious, boorish thief is desperate to look presentable and become a member of the upper class. How does he do this? He forces his way into the restaurant and continues his underworld dealings to give him the means for a fancy lifestyle. Greenaway uses the thief as a model for most people in the upper class. He tells us that anyone in this class is really a derivation of Albert, a derivation of a thief.

The Naughty Bits

Greenaway's films enjoy a loyal following in the United States. His films have never achieved what anyone would call financial success; one recent film was not even released in the United States. Part of the reason for this is the subject matter of his films, and the reason I have chosen this film for my write-off. Every one of his films deals with people that are not in love, but need love and therefore take it. In "Cook", Albert does not love Georgina and she certainly doesn't love him, but she feels trapped and doesn't know where to go or what to do. When she finally finds love, Albert soon learns of it and puts a stop to it. Robbed of her last chance for true love, she takes revenge, releasing her nightmares. "Pillow Book", "The Draughtsman's Contract", "8 ˝ Women" all have main characters that are similar. They all have needs, needs that must be, will be fulfilled, no matter what the cost. If these characters were able to love and be loved the films and stories wouldn't exist. It is their perversions that make the films real, watchable and interesting. When Greenaway makes a film that works successfully with these notions, they become memorable. When he is off his game, they don't work; we don't feel sympathy for the characters. "Cook" works because we can feel sympathy for Georgina and Michael. We can even feel sympathy for Albert. He is such an atrocious human being that we can imagine the horrible childhood that created him.

In one review I read about "Cook", the writer noted that they felt Greenaway let Albert off the hook too easily. Without revealing a lot of the climax, I don't agree. I felt that he let Georgina escape from her personal hell in a quick, expedient way.

More Naughty Bits

"Cook" was controversial because it has a lot of elements that are uncommon in American films. Two very natural looking humans appear nude often, before and during their romantic encounters. Helen Mirren has a voluptuous body type, another element that draws parallels to Dutch paintings and Alan Howard is also not a svelte male super model. Their encounters are truly erotic, interesting and much more arousing than most `love scenes' in American films. This alone would send shock waves through just about every religious watchdog group. Greenaway also includes some fairly graphic violence, prompting a lot of controversy and much of the revenue the film generated. I find it ironic that the MPAA will give a film about a serial killer who engages in explicit sexual intercourse before killing his victims as the camera agonizes over the death `R' ratings, but if the film depicts intercourse between two loving people and happens to include some violence, it can't receive a rating. In 1989, "Cook" was released as Unrated. When it finally hit video stores, two versions were available, the Unrated letterboxed version and a chopped up `R' rated version. Blockbuster would only carry the `R' rated version, which is about 30 minutes shorter than the Unrated version. Did these people see the same film? No.

The violence in "Cook" is fairly graphic. There are also some elements of a very unconventional nature in the climax that might be unsettling for some people. These elements only serve to strengthen the overall story, shocking the viewer, making us realize how far this affair has gone on.

And As You Leave The Theater

"Cook" is a film that deserves to be seen on the big screen. If video is your preferred method, please, please, please search out a copy of the uncut letterboxed version. With almost 30 minutes cut out, there is no way the `R' rated version can approximate the experience. The tape is out of print, so a newer video store may not have it. "Cook" is also a film more than worthy of a deluxe DVD edition, yet still hasn't been released on DVD.

"The Cook, The Thief, His Wife and Her Lover" is one of the most visually spectacular films I have ever seen. After watching it the first time, I imagined a play, a painting and an opera all combined into one film. It was, and remains, a shocking experience that I will remember for a long time. Read more ›