Rating: 
Summary: A magnificent and unforgettable film
Review: The Hughes Brothers' recent release FROM HELL includes a brief (and surely unexpected) appearance by one John Merrick, better known as 'the Elephant Man'. Merrick's inclusion in a movie about Jack the Ripper points up the odd connections between these two figures. Both represented extremes of degradation (moral in one case, physical in the other) that had never been seen before; both aroused horror and fascination in equal degrees; and both were major press sensations - all in the same district of London at roughly the same time. Indeed, John Merrick and Jack the Ripper might even be seen as yin and yang: while the Ripper's (presumably normal) exterior masked a heart of the blackest evil, Merrick's hideous body housed one of the kindest and gentlest souls ever to grace this planet.This beautiful soul is the focus of David Lynch's magnificent film, THE ELEPHANT MAN. Broadly speaking, the film is a true story; while a fair portion of the details are either totally fictitious or conflated from several real-life sources, the general outline of the script is true. It follows Merrick from his first encounter with Dr Frederick Treves (Hopkins), the man who helped him regain his dignity, until his death trying to "sleep like normal people" - this final scene being only one of many unforgettable moments in the film. The cast of THE ELEPHANT MAN is utterly top-notch. With only his eyes visible beneath Christopher Tucker's extraordinary makeup, John Hurt manages to give a tremendously moving performance in the title role. You won't soon forget his recitation of the 23rd Psalm, his heartbreaking teatime visit to Treves's wife (a fine cameo by Hannah Gordon), or his reading of Romeo to Anne Bancroft's Juliet (another great cameo). Anthony Hopkins once again proves himself to be among the greatest actors of our time; his performance as Treves is nicely nuanced, evincing subtle and deeply human contradictions, where a lesser actor might have portrayed a mere two-dimensional Virtuous Leading Man. John Gielgud is his usual brilliant self, Freddie Jones is excellent as the sinister yet somehow tragic Mr Bytes, and the various supporting roles are all up to the very high standard set by these leading players. Since 1980 was the year of RAGING BULL and ORDINARY PEOPLE, it is perhaps understandable that THE ELEPHANT MAN didn't win any of the 8 Academy Awards for which it was nominated - though in my opinion it is every bit as good as either of those films. What is scandalous, however, is the fact that Freddie Francis's stunning black-and-white cinematography wasn't even nominated. (Francis did pick up his second Oscar, for Edward Zwick's GLORY, a few years later.) Lynch's direction, finally, is a revelation. This was only his second film, and he was working with some of the greatest actors living at the time, but his hand has never been surer. Not until THE STRAIGHT STORY (also, incidentally, photographed by Francis) would he again attempt so direct a presentation, but the results here are simply superb. There isn't a hollow note or an empty image in the entire film, which is more than one can say for some of Lynch's later efforts. The DVD's picture quality is excellent, the sound likewise. Extras include the theatrical trailer, some interesting bits concerning Christopher Tucker's makeup, and a brief documentary featuring comments from Tucker, John Hurt, Freddie Francis, producer Jonathan Sanger, and (uncredited) executive producer Mel Brooks (yes, that Mel Brooks). It would have been nice to hear something from David Lynch as well, but all things considered, this is a fairly minor quibble. A great film and a great DVD - pick it up today.
Rating: 
Summary: what a great movie!
Review: David Lynch's Elephant Man has a cinematic style that has been called Steampunk and compared to the early fantastic fiction of Tom Powers and James Blaylock. Steampunk was coined as a retro analogue to Cyberpunk. The movie itself does not fit in that subgenre label. Peter Nicholls, in the Encyclopedia of Science Fiction, in his entry on Steampunk, mentioned the film in this context: "Steampunk is a US phenomenon, often set in London, England, which is envisaged as a once deeply alien and intimately familiar, a kind of foreign body encysted in the US subconscious....not so much the actual 19th century as a 19th century seen through the distorting lens of Charles Dickens, whose congested, pullulating 19th-century landscapes were the foul rag-and-bone shop of history from which the technological world, and hence the world of SF, originally sprang. Somewhere behind most Steampunk visions are filthy coal heaps or driving pistons. It was a vision that also entered the cinema, especially through David Lynch, first in Eraserhead (1976) and then in The Elephant Man (1980), and even -- inappropriately enough -- in much of the mise-en-scene of his movie Dune (1984)." John Clute and Paul J. McAuley, both themselves accomplished SF writers, in the Encyclopedia of Fantasy, gave an entry to Steampunk as a subgenre of fantasy as well as SF, but they do not mention any movies or Lynch. They do differentiate Steampunk from Gaslight Romance, though both share the romanticized 19th-century London setting. Gaslight Romances border on supernatural fiction and fantasies of history, whereas Steampunk is more closely Technofantasy that features anachronism or alternate world settings, and urban fantasy. Dickens is mentioned again, his London a Babylon on the Thames. John Grant, another SF writer, gave David Lynch his own entry plus one on "Twin Peaks" (1990). He mentions Eraserhead, The Elephant Man, and Dune, but does not connect them to Steampunk. He does give Lynch his importance to fantasy with Twin Peaks and Blue Velvet (1986) and describes both as urban fantasy and surrealism. Admittedly, both encyclopedias are not very helpful to Lynch's early work. The Elephant Man is not even presented as fiction. But neither as a documentary. Lynch has taken obvious creative liberty in his film's look, sound and narrative. It is more conservative and naturalistic than Eraserhead, its artistic flourishes are kept to a minimum, but flourishes they still are. The several short sequences of dreams and thought dot the film, make waves in the flow of the otherwise straight story. These scenes could not have come from any true source as the main story had. They qualify as fiction and as Steampunk, as they include actual steam, driving pistons and heaps of coal, as well as rampaging bull elephants. At one point the producer was considering picking unknown talent Brett Weston as the disturbing freak of a man but he was considered to be too much to look at even with the film in black and white. It also didn't help that just before filming was to start he was caught in a gay cinema with his trousers round his ankles and a small terrier yelping for it's life. A tragic waste of a comedy talent. The non-fiction bulk of the film is kept historically real and accurate, no anachronisms and no fantastic technologies. Everything seen here was real, from the medical office officials and the uppper-class personages, complete with opera glasses, down to the bloody operating rooms, dusty specimen labs, squalid streets and alleyways, and the carnival. Every freakshow performer was real and documented, and actual dwarfs, giants and unusual people were among the film's cast. The makeups that recreate that infamous visage perfectly match the actual photographs and plaster casts Merrick himself taken in the 1880's. The entire cast bears the meticulous makeups and costumes that portray the period. Lynch and his crew have done an impeccable job all around. Yet, there frequently is lots of steam and smoke, and occasionally punk kids on the streets (no trendy "punk rock" look here), and more often adults of the lower classes with their ill manners and nasty attitudes. No telling what types one might bump into downtown. There is that distorting lens, that peculiar conveyance that can easily be mistaken for Steampunk. No one may have thought of inventing a new niche of fantasy, no writers may have borrowed from the film. But when a critic noticed a stylistic similarity between certain novels and certain films, Steampunk was named. Lynch and his Elephant Man were labelled.
Rating:
Summary: NO CHAPTER SELECTIONS!!!!!
Review: this was one of the most disturbing yet brilliant cinematic masterpieces ever brought to the screen. i have always loved this movie and couldn't wait to finally get it on DVD. LOOK OUT!!!, now i have seen everything, this DVD had good extras but guess what; unbelievably there are no chapter selections, i couldn't believe it!!!!!!! isn't one of the main arguments for DVD over videocassette the scene or chapter selections. i totally agree with David the other reviewer for this movie. great film, very disappointing DVD, come on Paramount, you can do better than this!!!!!
Rating:
Summary: Almost unbearable to watch at times yet deeply moving
Review: This movie was so sad for me to watch that when I recently watched it on Television I had to change it during certain scenes. However, that doesn't undermine the importance of this film and the strong messages that it offers. This film is about accepting people who are different and that people should be judged by what's on the inside that counts. This film teaches that true beauty is on the inside as William Hurt so powerfully demonstrates playing the tortured John Merrick. John Merrick's meekness and innocence was powerfully portrayed by Hurt. Some of the scenes are so beautiful yet sad that I had tears streaming down my face. The one where Mr. Merrick meets the doctor's wife for the first time then breaks down because he says that he's never been treated so kindly by a beautiful woman before is one example that I can think of. Heck, my eyes are watering up as I'm typing. This movie should be seen by as many people as possible.
Rating: 
Summary: Buy it used!!
Review: I love this movie. I've been anxiously waiting for it to be released on DVD, and when it finally arrived, I was very disappointed! This is a Paramount release. Paramount is notorious for releasing movies at premium prices with very little extras. This release was no exception. Oh, there was the usual trailer, and a couple of other extras. But, there was no booklet. The booklets usually contain the chapter listings, correct? Well, guess what, THERE ARE NO CHAPTERS TO SELECT!! This DVD plays straight, without scene access like a video cassette!! If you are a fan of the movie, like I am, don't be suckered into buying this version. Buy it used. As for Paramount, you've conned me for the last time. This is my last Paramount DVD purchase.
Rating:
Summary: life is beautiful!
Review: Or is it? I first saw this when I was maybe twelve or thirteen - I was alone in a hotel room somewhere in New Jersey, my parents were out by the pool. I watched this movie from beginning to end - I was frightened, terrorized and very, very sad - I couldn't really describe what I went through. I didn't want to watch this thing for years afterward. Eventually I revisited the movie & it has become one of my favorites. It is the only film that makes me cry, even to this day. It is solid proof of the possibility that cinema could be the most powerful artform ever created - the closest to directly describing the carefully blended chaos of the dream. Mel Brooks - if he made any right decisions in his career - it was hiring on David Lynch to direct this film. Just as perfect as Tim Burton directing SLEEPY HOLLOW.
Rating:
Summary: Painful to watch, but well worth watching
Review: This is a film that is unimaginably difficult for me to watch. I saw it once at the age of 13 and left the theater in tears. The film is shot in B & W to excellent effect, portraying a dreary industrial England. The true story portrayed is that of Joseph (called John in the film) Merrick, who suffered from terrible deformities. In spite of them, we are witness to a truly beautiful soul. David Lynch must be one of the most underrated directors that we have. One should also note that the film was a project of Mel Brooks, and quite a departure from his usual fare indeed. If you can stand a prolonged and deep true story of horrible suffering, you can see this film. Great stuff.
Rating:
Summary: Deep!
Review: I can't recall a movie that has touched me as much as this one did. It follows the tradgic story of John Merrick, a man with a deformed face, as he struggles through the abuses of society. The saddest part about this movie: it's all based on a true story. This is such an important film to watch. It's so depressing and moving, it will change the way you feel about the human race. Even through its black and white veil, The Elephant Man is very well executed. You will remember this movie long after you've watched it.
Rating:
Summary: A Movie You will never forget
Review: What a powerful, moving film! One viewing will prompt this film to remain in your mind as long as you are here on this planet. Some movies are educational, some are entertainment. This movie is both. I disagree with the idea that a child wouldn't understand the point of this true story. I think a child eight or older could benefit from viewing and talking about The Elephant Man. The lesson that every human is a human being with the same soul and feelings as any other, no matter the external appearance is a most valuable one for children to learn, and the earlier the better.
Rating:
Summary: An "Atmospheric" Masterpiece
Review: To say that this production of David Lynch and Freddie Francis is my favorite film of all time is an understatement. I have seen it so many times over the years that I have honestly lost count. At one point I was so completely fascinated with it, I was going to it two or three times a week while it was still in its first run in the theatres. After all these years and all these viewings, I believe I can finally put my finger on just what exactly it is about this film that does it for me: It is what I would now call an "atmospheric" masterpiece. This film really transports me to another time and place, draws me into another world, like a time capsule. I leave the theatre (or in this case now, after a home video viewing) feeling I've visited another dimension - which is what I want a really great film to do for me. My introduction to John Hurt - here completely unrecognizable under makeup based on actual casts of the Elephant Man's head and body - came primarily through the "I Claudius" television series in the 1970's, and is truly one of the most underappreciated actors of the 20'th century in my opinion. This performance of his as the historical Joseph Merrick, a Victorian Englishman suffering from severe neurofibromatosis, is truly a tour de force. Merrick, rescued from a life of degradation as a circus sideshow freak, is taken into the London Hospital by the altruistic doctor Frederick Treves, another factually based historical figure, upon whose own written accounts the story is partially grounded. Initially wishing to help Merrick escape his life of hopeless servitude to wandering carnival proprietor/"owner" Bytes (perfectly portrayed by the great Freddie Jones), Treves soon faces the moral dilemma of whether he's resposible for having Merrick stared at all over again - albeit in better surroundings. This is an important film in my view, for its portrayal of human compassion. Although that having been said, the story also struggles with this issue of morality at the same time, in this comparison between Treves, Bytes and an unscrupulous nightwatchman at the hospital who all seem to want to use Merrick for their own ends. The beauty of Bernard Pomerance's play "The Elephant Man", was that the portrayal of Merrick was done without makeup - a part that would bring out the best in a qualified actor. Here the roles are reversed, with John Hurt's features completely obscured by those of Merrick. An astounding performance. Another of this age's truly great actors - Anthony Hopkins - portrays Dr. Treves. Top-notch supporting roles are turned in by Anne Bancroft as Dame Madge Kendall, John Gielgud and Wendy Hiller - whom some may recognize as Leslie Howard's personal project in the precursor to My Fair Lady, the 1939 adaptation of G.B. Shaw's "Pygmalion." Whatever the difficulties morally speaking for Dr. Treves, Merrick is given the chance to live out his last days with the dignity his actually refined mind and spirit deserve. There are many wonderfully touching scenes - the recitation of the 23'rd Psalm, the reading of Shakespeare, the visit of Merrick to Dr. Treves' home, Merrick asking the doctor if he can be cured, and the visit to the pantomime. Freddie Francis' black and white photography is the real selling point in creating this atmospheric masterpiece that I mentioned before. This just would not work in color. One of the greatest shots in the whole film is a long shot of a steam locomotive inching across the screen from right to left, its plume of thick white steam slicing across the palette of varying shades of grey, that looked absolutely stunning on the big screen. And of course, the music by John Morris. Minimalist, yet so much is conveyed. In short, treat yourself to this film as a fine example of a story of compassion, human dignity upheld, or as simply an example of masterful film making, wonderful acting by a slate of the best of British theatre.
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