Milos Forman

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Beloved Review

Adventurous French filmmaker Honore returns to the musical genre, but this film isn't as buoyant as the wonderful Les Chansons d'Amour (2007). No, this one is dark and rather grim. And it feels about an hour too long.

In 1964 Riems, Madeleine (Sagnier) accidentally begins moonlighting as a prostitute before falling in love with a client, the charming Czech doctor Jaromil (Bukvic). He whisks her off to Prague, until the Russian invasion of 1968 and Jaromil's infidelity drive her back to France with daughter Vera.

Madeleine remarries, but never loses her feelings for Jaromil. Even some 40 years later (now played by Deneuve and Forman), they're meeting in secret, while Vera (now Mastroianni) is struggling with the fact that she has fallen in love with the wrong man (Schneider).

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Special VIP Performance Of The Broadway Play 'Next Fall' Hosted By Producers Elton John And David Furnish At The Helen Hayes Theatre-Arrivals.

Milos Forman, David Furnish and Elton John Wednesday 10th March 2010 Special VIP performance of the Broadway play 'Next Fall' hosted by producers Elton John and David Furnish at the Helen Hayes Theatre-Arrivals. New York City, USA

New York Film Festival's Opening Night Premiere Of Wes Anderson's 'The Darjeeling Limited' At Avery Fisher Hall - Arrivals

Milos Forman and Wes Anderson - Milos Forman and Guest New York City, USA - New York Film Festival's opening night premiere of Wes Anderson's 'The Darjeeling Limited' at Avery Fisher Hall - Arrivals Friday 28th September 2007

Milos Forman and Wes Anderson

Goya's Ghosts Review

There are always clear-cut signs: a solid cast with no buzz, a good director but no release date, a topical film with a PR campaign that could best be described as non-existent. To say nothing of the fact that the first it was heard of was roughly a year ago, Milos Forman's Goya's Ghosts has its ineffectiveness in the bloodstream and appears to have been released solely on name cred.

Forman, the Czech madman, began his career with sublime studies in New Wave dynamics, most memorably with 1965's Loves of a Blonde and 1967's sublime The Fireman's Ball. Now, after Cuckoo's Nest, The People vs. Larry Flynt, and that ridiculous role in Keeping the Faith, Forman seems to have jettisoned over to the other side of the spectrum. While most of Forman's American fare at the very least holds the faintest whiff of provocation, Goya's Ghosts seems shackled to a supremely-uninteresting story without even a glimmer of spontaneity. Seriously, hasn't it already been proven that all art is inspired by women and all women are evil? Isn't it time to move on? Not according to Forman.

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Loves Of A Blonde Review

Hana Brechová plays the lovely and provocative Andula in Milos Forman's Loves of a Blonde, one of his earliest works and definitely one of his simplest compositions.

The story, told in three short acts, largely follows Andula as she finds dissatisfaction in her love life -- and understandably so. She lives in WWII era Czechoslovakia, in a small town where the shoe factory is the only place to work. Women have flocked there for the jobs, to the point where there are 16 women for every man -- and the men are all pudgy military reservist types. What's a girl to do?

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The Firemen's Ball Review

You can almost smell the cabbage in Milos Forman's The Firemen's Ball, a lovely little farce about a party for an 86-year-old fire marshall in a small Czech town. The problems center around a beauty contest, designed to pick the girl who will bestow an award to the elderly gentlemen -- only the girls aren't exactly supermodels, and then, once they've finally been selected, they're too afraid to go on stage. Other problems erupt (someone is stealing the prizes for the lottery), until the party is interrupted by -- of all things -- a fire.

This 73 minute film is practically a trifle, hardly a masterpiece but definitely the work of genius. Forman's social satire makes more sense in the context of 1967 Czechoslovakia, which had a government in crisis much like the firemen on parade in the film, on the eve of the country's invasion by Russia and imminent conversion to communism. The film was reportedly "banned forever" on the spot by the new regime. Apparently those Russkies were on to the movie, too...

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Keeping The Faith Review

It truly is the oldest joke in the book: "A priest and a rabbi walk into a bar..." Okay, so you've heard this one. Well now you can watch the movie of the joke!

Keeping the Faith may not be quite that bad, but it's nothing to, ahem, preach about. Setting the film up with all the trappings of your classic, neurotic, New York relationship comedy, Faith wants to be a wry When Harry Met Sally... tale of opposites attracting and love conquering all. Oh, the opposites aren't the rabbi Jake (Ben Stiller) and the priest Brian (Ed Norton) -- that might actually be a movie worth watching. The kink in this picture is Jenna Elfman's Anna, the old childhood friend of Jake and Brian, who swishes into town and promptly falls in love with our rabbi.

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Keeping The Faith Review


A deftly updated homage to the screwball comedy stylings Howard Hawks, George Cukor and Billy Wilder, "Keeping the Faith" acknowledges right away that its plot, about two men of the cloth falling in love with the same girl, sounds like a lame bar joke.

It opens with the fantastic and versatile Edward Norton ("Fight Club," "American History X") playing a spiritually conflicted -- and at the moment, completely sauced -- Catholic priest, pouring his soul out to a patient bartender. "So there's this priest and this rabbi, and they're best friends, see...," he slurs into his beer.

The rest of the story goes something like this: Ben Stiller co-stars as the padre's rabbi rival for the affections of the magnetic Jenna Elfman, a long-lost friend from their shared Brooklyn childhood who pops back into their lives 20 years later, all grown up, sexy, sweet and irresistible.

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Milos Forman

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