Rating: 
Summary: A Misfire From Sally Potter
Review: Under the yoke of persecution, people-- collectively or individually-- will find a voice, a way to communicate their plight to the world, to anyone who will listen. Sometimes the whole world will hear that cry, but often it will fall on deaf ears. "The Man Who Cried," written and directed by Sally Potter, is just such a story, of a people-- Jews-- unimaginably persecuted and attempting to find their voice, that common expression of their suffering and turmoil. And, as is wont to happen in extreme situations, that expression will manifest itself in terms that are universal and defy the barriers of language. The "Man" in this story can be found in hu-MAN-ity, and his cry can be found in the common expression of song: In the aria of the opera, in the songs of the gypsies camping on the outskirts of Paris, or in the a capella intonations of a young Russia girl, a Jew, exiled from her home and adrift, alone, in a world of incomprehensible confusion. The story begins in Russia, 1927; a man (Oleg Yankovsky) is forced to flee the country for America, leaving behind his young daughter, for whom he hopes to send later, once he is settled. Very soon, however, the preadolescent girl is forced to leave, as well, and winds up alone in England, at a school, where she is given the name "Suzie," and, being an outsider, suffers the taunts of her peers. And through it all, what keeps Suzie (Christina Ricci) going, is the thought that some day she will be able to join her father (from whom she has not heard since his departure from Russia) in America. In the meantime, Suzie finds solace in singing, while her personal odyssey eventually takes her to Paris (at a most inopportune time for a Jew), where she becomes involved with a dancer named Lola (Cate Blanchett), a renowned opera singer, Dante Dominio (John Turturro) and an enigmatic gypsy, Cesar (Johnny Depp). Now a young woman, Suzie's dreams of America have diminished somewhat, but as the Nazi war machine begins cutting a swath across Europe, her thoughts, with renewed fervor, yet mingled with doubt, turn again to the possibility of joining her father in America. As with her previous effort, "Orlando," in 1993, Sally Potter had a definite vision of how to approach and present her story. Unfortunately, she seems unable-- or unwilling-- to share that vision with her audience. The story itself is interesting, if not original, but her disjointed, abstract methods of presenting it make it too obscure to embrace. On the surface, what some may initially consider an imaginative rendering of the material dissolves under closer scrutiny, and the artistic, abstract presentation is revealed as nothing more nor less than the effects of awkward transitions that defeat the very vision Potter was attempting with this film. The "transitions," in fact, which are so vital to the telling of the story, are actually not so much transitions as they are lurches or jumps, which dramatically distorts the flow of the film. Add to that the lack of character development or delineation, as well as Potter's inability to maintain any tension whatsoever, and the result is a film that is emotionally uninvolving and, at best, unapproachable from the standpoint of the audience. Visually, it has it's moments, especially in the silent exchanges between Suzie and Cesar, but they are simply too few and far between to sustain any interest. And it's unfortunate, because Potter had all the tools with which to work, but didn't know what to do with them. The performances, too, suffer the same fate as the presentation of the film. Ricci looks stunning-- very reminiscent of a young Elizabeth Taylor, in fact-- and her performance is the highlight of the film; Suzie, at least, is believable. Ricci does well with the material she is given-- which isn't much-- and her lack of dialogue and extended moments of silence may mask, somewhat, the ambiguity of the character. She is wonderfully expressive, however, which at least adds a touch of mystery to Suzie, who because of Potter's lack of attention is not nearly as sympathetic a character as she should be. Ricci has developed a powerful screen presence, quite apparent though unemployed in this film, and hopefully in her next project she will have a director who knows how to use it. Like Ricci, Cate Blanchett does the best she can with the material, but under Potter's unsteady hand Lola seems out of step with her environment, and despite Blanchett's best efforts comes across as more caricature than character. She certainly tried, however, and attempted to get more out of Lola than was humanly possible. A poorly written stereotype, there was nothing Blanchett could do to save herself, or the character, with this one. John Turturro suffers the same fate, only more so. Without the necessary guidance, he seems to have a hard time immersing himself into Dante's skin. It's a good effort, but Turturro as Dante is like putting a square peg in a round hole; he just doesn't fit. And the singing voice provided for him defies credibility. Depp, as well, seems at odds with his character, Cesar, though he suits the part of the silent, brooding gypsy quite well. Again, it's a case of being all dressed up with nowhere to go. The character was not so much poorly written as too ambiguous; to be effective (as he could and should have been), Cesar simply needed some direction, and it was not there. The supporting cast includes Harry Dean Stanton (Perlman), Hana Maria Pravda (Grandmother) and Claudia Lander-Duke as young Suzie (the best bit of casting in the film; very credible as a young Ricci). The most positive thing that can be said of "The Man Who Cried" is that it had such potential. Alas, it was never tapped; and you're left with the thought of what could have been.
Rating:
Summary: An Unfortunate Scenario For Outstanding Actors
Review: I rented this movie on recommendation from the trailer. The trailer looked very good, however the movie was abysmal. It was truly painful to see such fine actors so out of place. The story was extremely contrived and maudlin. I just could not finish it out. I watched the last half on forward. Everyone looks wonderful and the costumes and sets are outstanding. The plot reminded me of a Danielle Steele type short story.
Rating: 
Summary: Forget what you've read, Watch this Movie:
Review: I almost did not buy this movie after reading the reviews by
critics. I got it after much ordering and canceling, and I
tell you, its the best $... I ever spent. This movie is the
best acted, best story-line, best all around movie I have seen in years. If you are an action, blood & gore person forget it. If you love a wonderful movie, with great scenery, this is your
movie. Christina Ricci, Suzie, is amazing in this role. She
can show more emotion with a simple look, than most actors ever
show. As a young Russian Jewish girl, beautifully played by
young Claudia Lander-Duke, she is forced to flee Russia, and trying to get to America, where her father went looking for the American Dream, she is sent to England instead. Sent to live
with foster parents who show no emotions, she is told she must
"fit in", and instead of living her life, she attempts to live
the life that people she meets want her to live. Suzie loves
to sing, but takes a job in France as a dancer, to try to get
to America. In France, Suzie meets Lola, played by Cate Blanchett, in her dance troup, a golddigger, who really loves Suzie, but her fear of going back to the the proverty of Russia, make her make decisions that are bad for her. Dante Dominio,
John Turturro, an Italian opera tenor whose self-centerness stems from his desire to prove his mother's sacrifices for him were worth it, seems to be Lola's dreams come true, but although, he takes Lola, he really desires Suzie. Cezar, played brillantly by Johnny Depp, the gypsy with nothing, but the love of Suzie's life, for with Cezar she finds herself, the real
Suzie. This movie brings to life what it must have really
been like Pre-World War II France, with all the prejudices
and fears of the different classes of people. One critic
said Christina Ricci and Johnny Depp have no chemistry, wrong...these two can can take your breath away with just a look. Cate Blanchett is beautiful, and your heart will go out to her. John Turturro, you will love to hate. I have never seen a movie only 90 minutes long that could bring so many characters to life, and by the end you feel you really know all of them, their wants, needs, and desires, and you feel real
empathy with them. From its beautiful scenery, to the breath-taking opera songs, this movie has it all. I am so glad I did
not follow the movie critics reviews, and decided to order
the DVD. I have now watched this movie four (4) times, and
may watch it 40 more. It is a got to see, no matter what you
read. Maybe Sally Potter should do a Man Who Cried Part II,
to see what happens to Suzie and Cesar after the war. Five
Stars for all....
Rating:
Summary: Too maudlin and saccharine for its own good.
Review: Throughout the duration of "The Man Who Cried," I found myself searching for a light at the end of the tunnel, something with which to spark some interest in my skeptical mind for this drawn-out, listless and emotionally empty film. Perhaps my dislike for Sally Potter's latest venture into the artistic canvas of human suffering is my own fault; after all, if one spends a movie's entire desperately trying to like it, where does it get him but right back where he started? There is a certain sense of awe and wonderment about a failure such as this; you have to admit that there were some good intentions at work in this picture. Potter incorporates a style that accentuates the period's flavor and dark times exquisitely, but to call it a style over substance film is a hit and miss. There are times when the visual integrity of the film is the only thing worth watching for, and then there are times when the plot itself is so outlandishly dreary that keeping one's eyes open becomes a chore. Potter's tale begins in Russia, 1927, exploring the childhood years of little Susie, who is separated from her beloved father when he ventures from home to begin a new life in America. As an adult, she moves to Paris to explore her options as a singer, and ends up befriending Lola (Cate Blanchett), a dancer who aspires to have wealth and fame through marriage. She finds this in an Italian opera singer, Dante Dominio (John Turturro), whose boisterous ego and support of the Nazi presence in Paris are a threat to Susie, whose Jewish background remains secret. As far as period pieces are concerned, this one carries its fair share of opulent imagery, beauteous music and operatic flow that gives the film an offbeat feel. But there is little more than this exercise in style to enjoy about the movie: it's pacing is slow in a way that is almost sleep-inducing. while the realistic events involving the Nazi invasion of Paris is never really expanded upon. It's a shame, no doubt, considering the chances the film had to redeem itself. There is some small degree of tension created once it becomes known to Dante that Susie is of a Jewish heritage, as he tries to keep her under his wing with the threat of revealing her past. Sadly, the movie never goes anywhere with this, settling for the soapy romance of Susie and a handsome gypsy named Cesar (Johnny Depp), which, despite the warm chemistry between Depp and Ricci, is reduced to little more than a few sessions of lovemaking and a final goodbye that holds little emotional resonance. The dislike of the film's characters cannot be blamed on the cast; each does considerably well with their parts. Ricci is subtle and able to evoke emotion with her steely eyes and cold yet warm appearance, while Depp is moody and sensual as Cesar. Both actors do not speak much during the film, though no dialogue is needed to understand them. Blanchett dons an authentic French accent as Lola, and conveys her change in life with superb talent, while Turturro is subtly sinister as Dante. But in the face of such a banal, drippy love story that practically bleeds of corn syrup and the bittersweet tears of its cardboard characters, "The Man Who Cried" is a beautiful yet deceptive exercise, one that promises depth but delivers little of it. It's an interesting failure, one that seems to have the makings of a better movie if not for its insistence on a deliberately slow pace and unmoving characters.
Rating:
Summary: Stunning Images with Christina Ricci's Best Acting
Review: It's a shame that "The Man Who Cried" could not receive the due attention of the audience; for in my book this is one of the best films I ever seen this year. The film is about a Jewish girl living in Russia early in 20th century, who must go on a long way to search for her own father who left her to work in America. As the oppression against the Jewish people began there, she also has to start her own journey to survive with a coin and a photo as her only memory as childhood, knowing only a single English word, "America." (As movie fans know, this historical facts are shown in "Fiddler on the Roof" in a different way.) Instead of going to America, the girl lands in England, deprived of her own name, to start a new life there. But can she meet him again? First of all, you must keep in mind that the director's style is different from that of others. The dialogue, especailly in the opening thirty minutes, are as sparse as possible, and Sally Potter leaves the beautiful images alone, letting them tell what they show. It is this techinique that works well in "The Man Who Cried," and watching this film is like going through pictures in museum. And through the stunning images comes very emotional moment between the credible characters. Though her Russian accent sometimes may grate on you, ever changing Cate Blanchett is ravishing and shows great acting (as usual). However, the greatest surprise and achievement come from Christina Ricci, whose numerous works range from good ("The Ice Storm") to so bad ("Bless the Child"). Without capitalizing on her previous image as a strange little girl she established in "The Addams Family," Ricci displays her best performance as a beautiful heroine. Her quiet but touching face exudes emotional tension with Johnny Depp, and their quiet parting scene moves you to tears. Actually her eye speaks as much as any dialogue you hear in recent noisy movies. Ricci's fans must see it. Visually impressive (the last film by a cinemotograher Sacha Vierny from France, who is responsible for many Peter Greenaway films) "The Man Who Cried" is a must to see if you like art house movies. And watch the glorious photograhy that reminds you of colorful photoes you see in old magazines. The colors are bursting on screen.
Rating: 
Summary: Robust near-epic
Review: The most stunning feature of this film is the "opera singing" of John Turturro! The dubbing (and it HAD to be dubing) was completely seamless -- and utterly magnificent in its presentation. This film is quite stylish and serves as a great vehicle for the talents of Ricci, Turturro, Johnny Depp and Kate Blanchett (among others!) The photography, sets, music and screenplay are unforgettably superb. This is one of the better films of recent years. Probably a must-see.
Rating:
Summary: Sally Potters The man Who Cried
Review: Sally this is another film of quality we have come to expect from a talented storyteller and director like yourself. You just keep on shining, I found myself totally immersed in this movie from start to finish, and left the cinema with a feeling of total satisfaction, in a story so well told on the big screen, with no feeling of "seen it all before" If you enjoy movies with class, go and see this, Sally Potter take a bow for a job well done. I love the movies you make. you are in a class of your own.Keep them coming.
Rating:
Summary: A beautiful movie!
Review: I thoroughly enjoyed the beauty of this movie ... the cinematography and editing was stunning as was the wonderful soundtrack. I was moved by the simplicity of the script and appropriate lack of dialogue as so much was captured in the expressions of the fine cast of actors. I found it very believable and poignant ...a must see!
Rating:
Summary: A movie of depth and compassion
Review: Sally Potter has done it again. I have never seen characters loved by a lens with all they are and all they are not so hauntingly revealed, yet with no malingering to slow the pace. The little girl Fegele takes it all in, and creates herself as the Suzie she is told to be in order to survive in the world, but finally finds Fegele inside and gradually breaks into her own. The development of the friendship between Suzie and Lola outshines the potrayal of the romance between Suzie and her gypsy lover, Cesar. There was a bit too much left unsaid in the relationship between Suzie and Cesar which is the only critism I have of this movie of depth and compassion. The appearance of Pablo Veron was a well-placed delight which fit into the script nicely. If you like your characters well developed, lovingly rendered, and with a moving story artistically told, you should not miss this film.
Rating: 
Summary: a sentimental pastiche
Review: I am/was a Sally Potter fan. 'Orlando' and 'The Tango Lesson' were fascinating and delightful. 'The Man Who Cried' is neither. The dialog is stunningly bad -- the 'goodbye' scene between Suzie & Cesar is so, so bad I can't believe Sally Potter could have written this without a deep sense of irony? I could tolerate the indulgent cameo inclusion of Pablo Verón if the rest of the movie had weight. The movie was a terrible tease. Harry Dean Stanton with John Turturro in a Sally Potter film -- a must see! Turns out it's a musn't see. A sentimental pastiche. Sally, get yer act together gal, your dad wouldn't go for this one.
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