Scanialara
You won't be disappointed!
Artivels
Undescribable Perfection
Pacionsbo
Absolutely Fantastic
TrueHello
Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.
claudemercure
Ten directors make short films based on their favourite operatic arias. Lots of pretty pictures, but most of the segments are either pointless, senseless, or dull. Exceptions: the contributions of Jarman, Russell, Sturridge, and Temple.I took very brief notes on each: "Un ballo in maschera": dull, clumsy, amateurish-looking and incoherent. D- "La virgine degli angeli": weird, dream-like story works; good cinematography. A- "Armide": weird and seemingly pointless, though not boring and vaguely artistic. B- "Rigoletto": this funny segment tells the most straightforward story. A- "Die tote Stadt": pointless, uneventful pretty pictures. D+ "Les Boréades": pointless incoherence. D "Liebestod": baffling sex and death story with pretty pictures. C- "Nessun dorma": clever, disturbing abstract art. B+ "Depuis le jour": somewhat effective. B "I pagliacci": slightly affecting opera scene is too simple. C+
ntanner-1
I saw this film when I was in college at the University of Washington when I was 20 years old, back in 1988. I was so touched by it I later bought a VHS copy. As SOON as I saw the movie I knew I had to own a Mercedes not because of the pretentious nature of the car, but BECAUSE OF THAT FILM. I decided if I'm going to die in a car, it's going to be with some style and pathos. And needless to say, the aria La Vergini degli Angeli from La Forza del Destino was the most common played song in my Mercedes (that and the Flower Duet from Lakme). I have owned three more Mercedes after that first one (each one newer as I grew more prosperous), all for the same reason.... But it was that first Mercedes I remember most because it was an '83 (all I could afford back then when I graduated in '90) and it looked nearly identical to the one in the film.I really didn't care much for the other pieces in the film (a little too pretentious and, frankly, in one case gratuitous with what I considered unnecessary nudity) but that one black and white piece left an indelible impression on me that will last the rest of my life. It's so, so sad......yet beautiful.I would invite ANYONE with a love of Opera (especially aria's to check it out). That Mercedes piece would touch anyone (my wife loves it).Nick
Spuzzlightyear
Although I'm not going to talk about EVERY segment, thank goodness! Aria, as a whole is of course, a somewhat uneven glorious mess, done by 10 directors, 10 different arias, and 10 different stories. They all seem to have one thing in common. Lots and lots of naked women. Not really sure if this was just a bizarre coincidence or if it was a requirement, but Aria seems totally nudity heavy.Anyways, I found the segments set in the present much more enjoyable then the ones in the past (which makes the arias that much more pretentious). My favorite, of course, was the ultra-bizarre Bud Cort / Beverly D'Angelo pairing about the cheating spouses. Lots of fun there. Close behind was the strange beauty of the Las Vegas one with Bridget Fonda. Again, not all of it (John Hurt anyone?) works, but some of it is interesting enough.
robngail
This film contains some very beautiful music (of course!) and some highly individual impressions. It is unlikely that anyone will be enthralled by every scenario, but most viewers should be attracted to many of them. Running from slapstick to tragedy, the film illustrates life in the extreme. Don't be a newspaper critic, let your imagination loose and enjoy!
