Rating: 
Summary: A mezmorizing romance during WW2
Review: Ralph Fiennes puts on a wonderful show as the the adventurous explorer with Kristen Scott Thomas (Random Hearts, not saying that is a good movie). An almost surreal adventure into a romantic world of treachrey, seduction and deciet. Ralph Fiennes is simply amazing as the Hungarian count lost in a war that he does not beleive in, and torn between the love of a women and what he knows is right. Willem Dafoe and Jurgen Prochnow also make memerable appearences throughout the film, most notably during an especially gruesome torture scene in Tobruk in 1942. Amazing, thoughtful, good film.
Rating: 
Summary: Empty, meaningless.
Review: 'The continentals have a sex life - the English have hot water bottles.'I forget who made the above remark, but anyone seeking an illustration of it should check out this movie. The lovers' wooing goes as follows: remain stand-offish and snobby for several days, bicker stupidly over nothing, then bodice-rip. Presto: instant love. This 'love story' was clearly written by someone who has no idea how two people come to get to know and like each other. These two utterly uninteresting people are not so much in love as involved in an empty, sterile, English kind of lust as dessicated as the desert it takes place in. Since it's impossible to warm to this pair, none of the 'dramatic' moments work. An injection of music or soemone bursting into tears is just that: it all seems disjointed, like a number of emotional episodes looking for a context. Anyone still prepared to retort that Minghella is a talented director should see The Talented Mr. Ripley, which doesn't even bear comment. The English Patient is simply one of those movies that came from nowhere, swept the Oscars, and then was completely forgotten about almost the following day.
Rating: 
Summary: Its grand, unfolding power lures you in
Review: Personally, I feel that "The English Patient" was astonishingly faithful to the book, but not in the literal sense. While certain things simply cannot be adapted (they are too abstract to be visually substantiated), the atmosphere and general aura weren't very different. They both deepen the effect of the other, a clear sign that Anthony Minghella wrote a superbly adapted screenplay. As for the cinematography--much of the film's fluidity owes to its brilliance and its visual metaphors. Ralph Fiennes makes it impossible for us to imagine anyone else in the role--he takes us through the narrative with wounded pathos and real charisma--and Kristin Scott Thomas is luminous (a shop-worn word, I see)in a difficult role. She plays a woman who is terribly open with nothing to hide (except for the affair, of course), and while other actresses may fall into the pit of being bland with such a seemingly one-dimensional character, Scott Thomas adds countless layers and nuances. Fiennes and Scott Thomas make the characters real people with real feelings. All other actors, especially Willem Dafoe (he nearly steals the movie), are superb and felt. Thumbs up for most of the other technicalities: music (wow), costumes, set design, etc. Overall, a captivating and mesmerizing film. Its grand, unfolding power lures you in.
Rating:
Summary: One of the best ever
Review: ....In an era where flashy, split second MTV style images permeate the media, some audiences have no patience to allow a story to GRADUALLY unfold. This is a visually rich, evocative love story which takes place during and after war. The direction, acting, writing, cinematography and every element of this movie is strikingly realized. This is one of the best movies ever made. I kid you not. There are no cheap thrills or sensationalism in this movie. It is realistically told with intelligent dialogue. All this movie requires is that you are patient enough to allow a complex story to be told gradually and poetically by a formidable filmmaker, Anthony Minghella.
Rating:
Summary: Here we go again ...
Review: Imagine a classified ad for a Spring Break vacation: "meaningless sex and adultery in picturesque, exotic locations." TEP's version of the same would read, "as carried out by stuffy, boring, uptight characters without any passion, chemistry, or excitement whatsoever." Deprived of an aristocracy of their own, the nekulturny American masses periodically abase themselves before celluloid Brits and proclaim them divine. Well, OK, Britain does have divine acting, but this film "ain't it". TEP has no nutritional value, just pretty packaging. Time to wake up, people.
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Summary: The beautiful vision of Ondaatje comes alive
Review: Standing alone, The English Patient was filmed to perfection. Saturated with components that have made other epic films immortal: fierce passion, warfare on humanity, alienation of the soul, and of course, redemption. The story unfolds in a forsaken villa in Italy where a young nurse (a radiant Juliette Binoche) stays to care for her dying English Patient (Ralph Fiennes). This proves to be more than a regular post-war recuperation as both are dragged back into the pain during WWII. Joining this party is a maimed Canadian spy/thief (Willem Dafoe) seeking to find his share of healing, and an isolated Sikh sapper looking for understanding. The identity of the English patient is soon established as a Hungarian explorer and linguist--Count Almasy, who is in a way stranded on the desert of North Africa, longing for a lost oasis. The rain to his dark existence comes in the form of Katherine, a newly wed young woman (Kristin Thomas Scott) who is brave enough to accompany her husband, an evitable disppointment. Of course, keen eyes would sense the physical attraction intensify in the desert heat as these two lost souls cling to each other in a time of rapid colonization and brutal conquest. But in the minds of these multi-ethnic, nationale explorers, the world exists as it is, NEVER divided by human will into countries or "groups" as Almasy jeopardize his "honor" to fulfill the one promise to his doomed lover in the desert. This one compromise Almasy makes leads to Dafoe's obsessive chase to the villa. Instead of finding a spy like himself, he finds a faceless, nameless man, with whose ghost the young nurse has fallen in love with. Juliette Binoche was indeed a vision in this film, such a delight to see her emotionally-scarred character blossom. Minghella tells us that everyone has scars, some heal. Even the young sapper manifests his share of anguish during his courting of Hana, the nurse. Indeed, love does live forever in memory. And since memory is all these stranded survivors of WWII have in common, they bound together into the future with one thread linked to the turbulent past--the English patient. The book itself was a beautiful mirage, but if Minghella was indeed faithful enough to Ondaatje's international best-seller as to copy every focus, then this work would never illuminate the big screen. After all, Ondaatje's novel was a blend of lives, scattered, dispersed all over the slate of human nature. The distorted focus--now on the doomed love between Almasy and Katherine Clifton, is handled with such grace and care that the rest of the stories eventually fuse together into one soulful blues tune. The brilliant cast (internationally acknowledged), mesmerizing score, and the breathtaking cinematography that captures the savage soul of the desert, and the desert of the soul, truly bring alive an astounding vision, so full of everything.
Rating:
Summary: a movie with opera thrown in
Review: First things first: this is not the novel. A novel doesn't really have to have a story. Certainly the "English Patient," as a novel does not. For the purposes of the movie, Minghella introduces interesting wrinkles which allow the filming of a movie out of a novel lacking in the essentials of moviemaking. This, in itself, ie wonderous. but then throw in the three principle actors in this movie, all of whom turn in remarkable performances and you have a movie of stunning beauty.
Rating:
Summary: Intoxicating
Review: The awe-inspiring beauty and quality acting of this film leaves audiences inebriated with it. Ralph Fiennes, Kristin Scottt Thomas, Juliette Binoche, and Willem Dafoe perfectly portray their roles. Fiennes brings the role of Count Almasy to life by capturing his flaws, the tragedy, and unwavering devotion to his lover immacualtely. Scott Thomas, contrary to some opinions, is exraordinary in her role as the very complicated and very confused Katherine Clifton. Both Binoche and Dafoe offer great performances and, ina Binoche's case, a break from the intense situations in the flashbacks with Fiennes and Scott Thomas. The English Patient is by far one of the best movies of the century. Don't miss out on this incredible classic!
Rating:
Summary: A little different from the book but excellent
Review: The film version of "The English Patient" differs from the book a bit but is excellent in its own right. Directory Anthony Minghella converted the intelligent and somewhat fragmented story into a romantic epic. In order to accomplish this, he twisted some of the characters' personalities a bit. For example, in the book Count Almasy is a wry, omnicient person who views his situation with detached amusement. In the movie he is more of a tragic, doomed lover. Both roles suit their contexts well. In the novel Almasy is quirky and difficult to understand. To the reader he is a mystery and a source of curiosity. In the film he is dreamy and sympathetic. The film also develops Katherine's character considerably more than the novel. In the book we only see her through Almasy's humorous and somewhat cynical recollection. In the film we are directly exposed to Katherine's personality and motives. Comparrison to the novel aside, the film is wonderful on other levels. The scenery and cinemeography contain an epic beauty and historical flavor comparable to "Lawrence of Arabia". Minghella also avoids creating obvious heroes and villains. No one in the film is particularly unsympathetic or guilty. Clifton's and Caravagio's vindictiveness are understandable. Almasy's Nazi collaboration is forgivable. And even the SS officer who maims Caravagio is a reluctant villain at best.
Rating: 
Summary: And They Say Then English Are Reserved...
Review: Although I don't agree with it myself, I can see why some may say that this film is very arty and in places dull. But I absolutely love this film and while it is a popular opinion amongst my friends that they disliked Kristen Scott Thomas's Katharine Clifton I thought both the character and the actress were terrific. The Second World War is almost over but there are hard times both in the past and present for the four occupants of a deserted Italian fortress. The story centres on the dying patient who seems to have forgotten his identity. Nursed by Hana, an army Canadian nurse (Juliette Binoche, he eventually remembers how he came to be so badly injured and a tragic, passionate love story begins to unfold as he recalls his affair with Katharine Clifton, the wife of one of his friends. Although I suppose Thomas's and Ralph Fiennes's characters are at the centre of the theme, I like the various sub-plot which are given and treated in just as assidious and tender a way as the main storyline itself. Rich with truth fine acting and tenderness this film is also set against the beautiful backdrops of pre-war Egypt and post-war Italy. Beautiful, sensual stuff. Thouroughly recommend it.
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