Conference noted::sf

I too liked it (having seen the theatrical preview) and plan to go back to
see if the "released" version is different.

One of the things that I liked about the movie (apart from the atmosphere and
the characters) was that there was no gratuitous nudity (male or female). It
told an interesting story and didn't resort to cheap tittilation to draw in
the teenage crowd, unlike many of the "Sword and Sorcery" movies.

Go see it.

As one of the alleged "gentler sex", I thought I should state that I
thoroughly enjoyed the film. Oh, I had a few minor quibbles, but it's
the best treatment of a fantasy theme that I've ever seen in a motion
picture, and a quite good movie in general. And the image of Rutger
Hauer in his black armor, astride his black charger, riding through
the glowing autumn woods ... ah, beautiful!

(Hi, Nigel - yep, we went and saw it again, up at Nashua. The crowds were
a lot less talkative than the Boston crowd was.)

-b

I, on the other hand, found some problems with it. Not to say that I didn't
like it, but I'd only rate it a "pretty good" (between "good" and "very
good").

First of all, though I liked Matthew Broderick's acting, character, and dialog,
I have to agree with Gene Siskel that the humorous lines were a *bit* too much.
They certainly brought some needed comic relief, but I found there to be a few
too many of them, and they jarred with the fairy-tale quality of the rest of
the film. It almost felt like the character was grafted on to the script by a
totally different writer.

Second of all, I was disappointed by Rutger Hauer's performance. In previous
films of his I'd seen (most notably NIGHTHAWKS and BLADE RUNNER), he's done an
absolutely magnificent job, but here, I felt no drive, no sense of purpose. I
almost had the feeling that Navarre was pursuing his quest more because he
couldn't think of anything else to do than because he was motivated by revenge.

Thirdly, there was an avenue that was hinted at, but never explored in depth.
Philippe was obvious falling in love with Isabeau. But there was also a hint
that Isabeau was developing strong feelings for him (the dance scene in the
stable, and the hawk landing on Philippe's arm rather than Navarre's the next
day). A love triangle might have added some character.

Lastly, the ending went on too long. First of all, I'm getting rather tired
of the bad guys setting upon the good guy *one at a time* and getting their
asses kicked. Secondly, the film should have ended right at Philippe's comment
about the Pearly Gates, with perhaps a *much* briefer re-union scene between
Navarre and Isabeau.

Other than these quibbles (and perhaps a few more minor ones), I enjoyed the
film.

"Lord, I hope there's a higher meaning to all this. It would reflect well on
you."

--- jerry

I thought that the reason Isabeau and Navarre were never looked at more deeply 
was because the story was about (drat it, what's his name).  He's never seen 
any of this happen before.  Sure, the stories are there, but he's dealt with 
'normal' people all his life (oppressive rulers, poor farmers, etc.).  I'd 
deal with the problem with humor also.

As for the bad guys attacking one at a time, hey they had a code of honor too, 
you know.  Got to give a fellow knight a fair chance (besides, the bad guys 
thought they were the good guys, except for one, the captain).

And the triangle was handled well also.  She was Navarre's and no matter what 
seemed to be happening, the thief would not steal another man's woman when 
they were separated by such a curse.  Remember the times, Arthur and chivalry 
and such.  Besides, would you want to tell Navarre that you and his love were 
running away together?  No thank you.

Beth

I disagree fairly thoroughly with Siskel's assertion that the wise-cracking of
Phillipe was too contemporary. He felt just like many a character from
Shakespeare or perhaps Chaucer. The nature of his humor also was more in
keeping with a more deeply religious era than today. 

I think the feeling that the film was hurt by anachronisms comes from the
perfectly dreadful score by Alan Parsons. I'd have been happier with cliched
Wagner than the one they had, not that I'd like the cliche that much. It wanted
a Korngold or Williams score or a medieval score which would have worked for
me, though not for many, I suppose.

Brons aka JimB.

                 LADYHAWKE UPDATE

On a scale of ten:

On the tenth week of the release, of the top-box-office films, _Ladyhawke_
was #10.  It has grossed $158 million.

This is good news, and bad news.

The good news is that a historical fantasy written at an adult[ish] level
and having a major production investment paid its way.  Even when in
saturation release.   This implies that other offbeat films might do
as well (other fantasies, nonconventional subject matter).

The bad news os that knowing what collectively's known as "Hollywood,"
someone's going to say, "Hey!  If _Ladyhawke_ can do it, let's us get
a story of someone dressed up as a knight ...." and make an el cheapo
turkey (or several).  In spaceflix, after all, _Star Wars_ was followed
like day the night by _Battlestar Galactica_ (which was in theatrical
release some places).

Pray for the good side.

Steve Kallis, Jr.

    This rply is a little late but I just saw it on VHS. I liked it,
    but had a hard time concentrating on it because of the slow pace.
    I had company at the time, but we kept having to rewind it to see
    parts we missed due to conversation. This never happens with star
    trek or star wars nmovies. I liked the characters, but wish they
    could have been more developed. The story was good, but could have
    been better. The editing and photography was outstanding.
    
    A. Hafez

    re Mathew Broderick's role.
    
    Ferris Buellers Day Off in the Dark Ages
    
    I loved Rutger Hower's horse. It must have been a cross between a
    Lipizener and a Clyvesdale.
    
    As for Michele Fiffer, I think I am in love
    
    Conan the Librarian
    

    FWIW
    
    The horse was a Friesan.
    
    They are most often used for driving.
    
    
    
    kim