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Orlando

Tilda Swinton (Actor), Billy Zane (Actor), Sally Potter (Director) Rated:
PG-13
Format: DVD
4.4 4.4 out of 5 stars 673 ratings
IMDb7.1/10.0
$19.98
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August 3, 1999 		—
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Genre Drama
Format Color, Anamorphic, Dolby, NTSC, Subtitled, Widescreen, Closed-captioned, Multiple Formats
Contributor John Wood, Christopher Sheppard, Billy Zane, Tilda Swinton, Sally Potter, Quentin Crisp, Lothaire Bluteau, Charlotte Valandrey, Heathcote Williams, Lenfilm Studios; Mikado Film; Rio Films; Sigma Films; Spectator Entertainment International See more
Language English, Spanish
Runtime 1 hour and 33 minutes

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Product Description

Tilda Swinton, Billy Zane and Quentin Crisp star in this "hip, sexy and wickedly funny" film based on the gender-bending novel by Virginia Woolf. Swinton stars as Orlando, an English nobleman who defies the law of nature with surprising results. Immortal and highly imaginative, he undergoes a series of extraordinary transformations which humorously and hauntingly illustrate the eternal war between the sexes. Visually stunning and beautifully acted, ORLANDO is an intoxicating blend of romance, adventure and illusion.

Product details

  • Aspect Ratio ‏ : ‎ 1.85:1
  • MPAA rating ‏ : ‎ PG-13 (Parents Strongly Cautioned)
  • Product Dimensions ‏ : ‎ 7.5 x 5.38 x 0.6 inches; 3.84 ounces
  • Item model number ‏ : ‎ CTR71549DVD
  • Director ‏ : ‎ Sally Potter
  • Media Format ‏ : ‎ Color, Anamorphic, Dolby, NTSC, Subtitled, Widescreen, Closed-captioned, Multiple Formats
  • Run time ‏ : ‎ 1 hour and 33 minutes
  • Release date ‏ : ‎ August 3, 1999
  • Actors ‏ : ‎ Tilda Swinton, Billy Zane, Lothaire Bluteau, John Wood, Charlotte Valandrey
  • Dubbed: ‏ : ‎ French, Spanish
  • Subtitles: ‏ : ‎ English, French, Spanish
  • Producers ‏ : ‎ Christopher Sheppard
  • Language ‏ : ‎ English (Dolby Digital 2.0 Stereo), Spanish
  • Studio ‏ : ‎ Sony Pictures Home Entertainment
  • ASIN ‏ : ‎ 0767827694
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.4 4.4 out of 5 stars 673 ratings

Customer reviews

4.4 out of 5 stars
4.4 out of 5
673 global ratings
Great companion to the book!
5 Stars
Great companion to the book!
I purchased this video after reading Virginia Woolf’s novel of the same name! From my experience of reading Woolf (8 novels to date) she is an acquired taste - worth acquiring! Orlando is termed “the longest and most charming love letter in literature” regarding Woolf’s close friend and lover, Vita Sackville-West. The film is sumptuous! Not lurid! Tilda Swinton gives an amazing “400 year” portrayal capturing most of the novel’s many nuances! A very worthwhile addition to your home dvd library! Thank you!
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Top reviews from the United States

DAN
5.0 out of 5 stars Superb!
Reviewed in the United States on February 14, 2024
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Having just finished reading the book, I thoroughly enjoyed this movie.

I grant some of the comments about how it seems cryptic, has a meandering plot with unexplained outcomes. That, in fact, follows the book, although the book provides much more insights and lots of explanation - which is difficult to put into this 90-minute film.

What the film does well is portray the essence of the book/story. Even if all the book story isn't presented, and a good chunk of what is presented is different from the book, the messaging about Orlando's gender ambiguity (or, specifically, resistance to genderized behavior), and the time warp aspects of Orlando's lifespan do hew to the message of the book.

At the risk of sounding like a snob, reading the book first will, I believe, really enhance your enjoyment of the movie. And the book itself will provide much more food for thought than you might have ever expected. (PSA: read lots of Virginia Woolf!)

"Orlando" the book is monumental - the movie, while not perfect, still gets a hearty Standing O in my home theater.
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Cat Trina
5.0 out of 5 stars "Same person. No difference at all. Just a different sex."
Reviewed in the United States on February 11, 2016
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I am shocked to realize that this film is nearly 25 years old. I saw this in the movies on the big screen in New York City when it came out in the early 1990s. I can't remember now if it was a limited engagement at a theatre like the Angelica back then, but I certainly don't think it was in a lot of theatres since it is a rather "off the beaten path" type of film.

Nonetheless, I don't know why I had never purchased this until now. It's such a creative, eccentric, artfully filmed work and makes me laugh every time I see it, despite some of the darker messages about the nature of war and gender equality (or lack thereof).

I'm not a big Virginia Woolf fan but, as the exception, I loved the book and this film, though some creative license needed to be taken to cover the 400 years of Orlando's story in a limited timeframe.

It opens with Orlando, played androgynously by Tilda Swinton, as a young man and in the throes of a young man's flights of fancy. Then, we meet Queen Elizabeth, played amazingly by Quentin Crisp (the writer). You see where this is going? The lines of gender demarcation have been blurred already.

As a man, Orlando is the heir to wealth, property, opportunity and reign over the opposite sex. When Orlando claims Princess Sasha as his, she asks, "But why?" To which Orlando replies, "Because I adore you." Male entitlement as seen from a male perspective.

Later, when Orlando is a woman and the Archduke Harry has his sights on her, he proclaims, "I am England. And you are mine." To which Orlando asks, "On what grounds?"

"That I adore you," he replies, to Orlando's offense. Male entitlement as seen from a female perspective.

Orlando's abrupt gender switching renders her "legally dead" and therefore, unable to hold any property, whatsoever. "Ah. Fine," she responds, as if it is nothing at all. To which the officials continue, "You are now a female. Which amounts to much the same thing."

Yes, the story is weird but it works. Why did Orlando change? We don't know. But that's not the point of this. This is a serious subject that is transformed by humor, the most beautiful, if at times, outlandish, costumes, and magnificent scenery. Tilda Swinton is particularly funny with delivering Orlando's reactions to various circumstances, even providing some little asides to give us a chuckle or some food for thought. And to throw in a redeeming, though flawed, male character, Billy Zane rides in on his high horse as Shelmerdine, the American freedom fighter who is always chasing the future.

This is an art film with lots of brilliant dialogue and lots of hidden gems you might get on the second or third viewings. Every time I watch this, I pick up more and more of the treasure chest of fine details and each viewing becomes richer and richer.

This film is not for everyone – I will concede that, but for those people who can appreciate all the beauty in the strange history of Orlando, this will keep delivering with each viewing.

Highly recommend.
100 people found this helpful
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Rick
4.0 out of 5 stars Movie review
Reviewed in the United States on April 19, 2024
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Great movie.
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C. Collins
5.0 out of 5 stars A dreamlike film of identity beyond gender
Reviewed in the United States on January 8, 2014
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This is a dream of a film, lush, ambiguous, appealing to the senses, while it creates a world of its own internal consistencies. I read Virginia Woolf’s novel, on which this film is somewhat based, many years ago and I remember the book had a dreamlike, floating, quality that Sally Potter has been able to retain in her film. It only makes sense that the film has this fluidity since one of its major themes is the fluidity of gender and identity. It is a very beautiful film, recording the march of time as the world ages around Orlando, who never ages but undergoes a series of loves and experiences first as a man and then as a woman. I think that both the novel and the film have a similar theme which is the concept of identity beyond gender and gender expectations of society and beyond the various drives and desires that may or may not be attached to those identities. For are we more than our gender? Are we more than our desire? Is there something within us that is beyond male and female and beyond those whom we chose to love? It is the reconciliation of gender expectations and personal desires to an existence and sense of self beyond those labels and drives that Woolf explores. Carl Jung’s psychological theory asserts that once we have mastered the difference between our mask (persona) and our inner self, we then must reconcile with our shadow, those aspects of ourselves we have repressed because of their lack of desirability. But then the third stage for men is to reconcile with the anima, the feminine aspects within, while for women a task ahead is the reconciliation with the animus, the male within. This reconciliation moves the self beyond gender confinements and in my opinion is the point of Woolf’s novel and the Potter film based on the novel.

Tilda Swinton is beyond exceptional in this film, one of the finest actresses in films. She is supported by an exceptional cast including Billy Zane as the person she loves as a woman and Charlotte Valandrey as the young woman she loves as a young man. Quinton Crisp, the film critic, is charming as the aged Queen Elizabeth I. Every detail has been made lush and meaningful in Potter’s interpretation, including having all males as mezzo-sopranos, including Jimmy Somerville as an Elizabethan troubadour.

I loved this film. It is a beautiful feast for the eye and a playful enchantment for the mind.
4 people found this helpful
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Top reviews from other countries

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DA Crysler
5.0 out of 5 stars Not completely understandable for some
Reviewed in Canada on January 26, 2024
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I love the story and period piece. The costumes and settings are beautiful.
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Fabio B.
5.0 out of 5 stars Un capolavoro imperdibile
Reviewed in Italy on August 15, 2023
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Avevo visto questo film di Sally Potter, tratto dall'omonima opera letteraria di Virginia Woolf, al momento della sua uscita nelle sale cinematografiche. Era il 1992 e ne rimasi stregato, tanto che ne acquistai una copia in formato VHF. Poi il film è divenuto a lungo irreperibile, ma finalmente sono riuscito a rivederlo su DVD in questa eccellente copia restaurata, che ha il pregio di contenere anche alcune scene tagliate, con i dialoghi in lingua originale e sottotitolati. Tilda Swinton, qui poco più che trentenne e più che mai androgina, è perfettamente nella parte e offre un'interpretazione di gran classe. Un autentico capolavoro, colto e dalle molte sfaccettature, che avrebbe meritato una maggior fama e visibilità
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claudio Testoni.
2.0 out of 5 stars its was ok.
Reviewed in Australia on April 16, 2021
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iam not to fuss with these movies
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J.A.Hallbauer ;Doc Halliday
5.0 out of 5 stars Mann oder Frau, egal. TILDA SWINTON !
Reviewed in Germany on December 12, 2015
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"Orlando". eine Adaption des Romanes von Virginia Woolf von Sally Porter, Drehbuch und Regie sowie Mitarbeit an der Musik, ist ein phantastischer phantasticher Film, der hier in der ARTHAUS COLLECTION LITERATUR vorliegt, gedreht 1992 in St.Petersburg (wegen eines strengen englischen Winters 1600 mit zugefrorener Themse), Usbekistan mit Steppe und England.
Orlando (Tilda Swinton) ist ein junger Adeliger androgynen Aussehens, der im Jahre 1600 Favorit der greisen Elisabeth I. wird, wunderbar verkörpert durch die Ikone Quentin Crisp, zum Lohn wird ihm ewige Jugend und ein riesiges Anwesen gewährt, ein solches bildet auch eine reelle beeindruckende Kulisse.
Die ewige Jugend bleibt, Orlando erlebt Epochen der Geschichte bis in die heutige Zeit als Frau mit kleiner Tochter auf einem Motorrad, die zu ihrem verlorenen Besitz zurückkehrt, dieser zum Teil verhüllt wie eine Installation von Christo.
In insgesamt 7 Epochen, die Orlando unter anderem auch als Gesandter in Konstantinopel verbringt, wo er im Rahmen einer kriegerischen Auseinandersetzung vor Entsetzten in Tiefschlaf verfällt ("Der Verletzte ist kein Mann, sondern ein Feind!"), erlebt Orlando die Sitten, das Verhältnis zur Literatur, in der er sich auch betätigt, insbesondere aber auch die Stellung der Frau in Politik, Gesellschaft und Literatur, nach Erwachen aus dem Schlaf in Konstantinopel als Frau, die um das Erbe fürchten muss.
Der Film ist nicht nur phantastisch bezüglich Orlando, sondern auch durchaus humorvoll, zum Beispiel, wenn sich drei englische Schriftsteller gegenseitig "beharken". man hat seine Freude an zum Teil subtilen, aber auch fiesen Bemerkungen, von einer Dame der Gesellschaft gewürdigt.
Am Ende sitzt die Orlando malerisch wie zu Filmbeginn unter einem großen Baum in herrlicher Natur, das Mädchen spielt, Orlandos Blick verliert sich im Himmel.

Tod, Liebe, Poesie, Politik, Gesellschaft, Sex und Geburt sind die Themen der Episoden von Orlandos Zeitreise über 4 Jahrhunderte, endend im England der Jetztzeit. Den Roman von Virginia Woolf habe ich nicht gelesen, er wird als längster Liebesbrief der Schriftstellerin an die damals geliebte Vita Sackville-West bezeichnet, angeblich mit autobiographischen Bezügen. Er handelt vom Darstellen und Hinterfragen von Geschlechterrollen ("Dieselbe Person, kein Unterschied, nur im Geschlecht"), grandios gelungen: Einmal durch die Änderung des Geschlechts, welches die großartige Tilda Swinton mit ihrem oft androgyn wirkenden Äußeren, betont durch die Frisur und Kleidung, wie kaum eine zweite vermag, andererseits für mich auch durch die Bestzung der Queen mit Quentin Crisp, was ich als Augenzwinkern von Sally Porter werte, wie überhaupt der Film manch Szenen zum Schmunzeln bietet.
Grandios ist die Ausstattung: Das höfische Treiben auf Schlittschuhen auf der zugefrorenen (St.Petersburger) Themse, die Szenen am Hofe mit prächtigen angenehm warmen Farben, großartigen Kostümen. Ein Heckenlabyrinth, durch das sich Orlando mit zu den Seiten enorm weit ausgestelltem Kleid rasch, aber doch anmutig bewegt, eine vergleichbare Szene, in der sie sich mit fast tänzerisch wirkenden Drehungen und Wendungen durch engstehendes mit weißen Tüchern verhängtes Mobiliar in ihrem Anwesen schlängelt, eine Art Ballett mit bewegungslosen Mittänzern, das sind Szenen purer Schönheit, Ästhetik, verzaubernd.

Und wie sehr trifft das auf Tilda Swinton zu, für mich schon fast eine lebende Legende. Schon als Der Orlando wirkt sie zunehmend femininer, wenn sie die in einer Periode typischen weißhaarigen Männerperücken trägt, herrlich dann der Gegnsatz zu machen grotesken wie am Reißbrett entworfenen völlig unnatürlichen Exemplaren. Und als sie nach dem Wandel zur Frau sich erstmals unbekleidet vor einem Spiegel mit Blick auf den ganzen Körper sieht und wie oben erwähnt bis auf das Geschlecht dieselbe Person sieht, da kann von Androgynität weniger die Rede sein als bei manch sog. Super-Model.
Unabhängig davon ob man die Intention oder die Umsetzung der Woolfschen Vorlage für gelungen erachtet, den opulenten Bildern in ihrer Schönheit und Ästhetik kann man sich kaum entziehen, und jenseits von allem Lob oder Tadel: Tilda Swinton hat eine Ausstrahlung und vor allem ein Gesicht, in dem ich mich fast endlos verlieren kann. Vergleichbar fallen mir diesbezüglich ad hoc nur Nina Hoss, Sandra Hüller und Emanuelle Béart ein.

Man sollte versuchen, sich auf diesen symbolischen, phantastischen Film einzulassen. Wie es mir schon mit dem melancholischen Vampirfilm "Only Lovers Left Alive" ging, Tilda Swinton ist ein Leinwandereignis, das für mich jedes Risiko wert ist; naja, fast jedes, eigentlich nur das Geld für eine DVD.
Bei "Orlando" habe ich höchstens bereut, mir diesen wunderschönen Film nicht schon früher angesehen zu haben.

Doc Halliday
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magenta
5.0 out of 5 stars Peliculón!
Reviewed in Spain on September 8, 2015
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Preciosa, poesía pura, mejor que como la recordaba y me ha costado encontrarla, gracias Amazon. Los trajes, las imágenes, todo... belleza en movimiento para mi libro favorito.
3 people found this helpful
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