gutoi
Well, this masterpiece is beyond reviews. But today, just found my original movie ticket from Jun/18/1999 at 9:30pm, when American Cinematheque in Hollywood-CA, had 7 showtimes Jun/17-20, with Martin Scorcese & Francis Ford Coppola were present in dedication to Mr. Jerry Garcia, which helped pay for rescue of this almost lost occult treasure. In its full-length version of 3hrs. "I love this movie... I saw the film 3 times, which in my case is exceptional" -- Luis Bunuel. Can't forget this masterpiece, and happy to be there once in a life time! Presently, waiting to see if Netflix could have it for rent, and see it again, this time with a vintage eco-vert red wine bottle...
gavin6942
Upon finding a book that relates his grandfather's story, an officer ventures through Spain meeting a wide array of characters, most of whom have a story of their own to tell.The film was released in Poland uncut at 182 minutes, but it was shortened for release in the U.S. and UK at 147 minutes and 125 minutes, respectively. During the 1990s Jerry Garcia, together with Martin Scorsese and Francis Ford Coppola, financed a restoration and subtitling of an uncut print of the film. The restored film, re-released in 2001, is commercially available in VHS and DVD formats.The film is among 21 digitally restored classic Polish films chosen for Martin Scorsese Presents: Masterpieces of Polish Cinema.I don't even know that this needs a review. It is a great film, although a bit long for the casual viewer. When you have Scorsese and Coppola both endorsing a film, that is a great sign. Then throw in Luis Bunuel, and you know you have something special. But Jerry Garcia? I highly doubt any other film can claim such a diverse range of fans.
druid333-1
'Rekopis znaleziony w Saragossie' (or as it is also known as,'The Saragossa Manuscript)is one of those strange little films that originally had a limited release in the U.S. (and a version cut by just under an hour.at that). This film,however came to the attention of Grateful Dead founder,Jerry Garcia,while attending a screening (in a questionable state of mind,I'm sure),back in 1966. He was so blown away by this film that he wanted others to see it,but that open window of opportunity was closed by the time he alerted his friends. He searched for years to get the American rights to distribute it out of his own pocket. Sadly,by the time of his death,news had arrived from Europe that a 35mm print of the original directors cut (which ran just over three hours)had become available. In memory of Garcia,the film's American distribution was handled by Francis Coppola & Steven Spielberg. Just why did Jerry Garcia go crackers over this film? Well,for one, this is a very surreal & psychedelic film,taken from the 19th century novel by Jan Potocki,which is about a very strange book that falls into the hands of a Flemish Captain,during the Napoleonic wars,and the effects it has on him (as well as anybody else who comes upon it). Wojciech Has directs a top notch cast of Polish actors,including the great Zbigniew Cybulski (star of many a prolific Polish film,including Wajda's Ashes & Diamonds,and others). Tadeusz Kwiatkowski's screenplay brings out the best in what is probably a difficult novel to make the transfer to the screen. This is the kind of film that one does not need the use of psychedelic drugs to get the utmost effect from (but probably wouldn't hurt). Not rated by the MPAA, this film does contain a bit of graphic violence,and a bit of mature content.
rserrano
Perhaps more than any other film, Saragossa Manuscript begs for multiple viewings. A fascinating way to watch this movie is to simply see it as space unfolding. At the highest level the structure is a set of interconnected stories which loop back on one another. Each story is a separate, nested world with a narrator who serves as a portal. This is not unlike current theories in physics about the multiverse, with separate worlds that wormhole into and out of one another, connected by black holes.Also, the frame by frame construction of the film is deeply spacial. The setting of the Sierra Morena seems to have not a single flat surface and the camera is often askew to accentuate this. Elaborately constructed sets are filled with boundaries and connections. Characters interact thru barred windows and seem to constantly flow into and out of doorways and windows. There are many long narrow corridors and alley ways. The camera captures ascending and descending stairways and shots are wide angle to create a feeling of great depth. Often action is focused on a figure in the foreground while another character secretly slips into or out of the room thru a doorway in some distant corner.This unsettling and masterful manipulation of space is in large part what propel the story so convincingly, since the many boundaries and connections determine which relationships are consummated and which things remain forever out of reach.
AD
