Bernard Mendoza

I first saw this astonishing movie when I was not much more than a toddler. It was, of course, the edited version; but even so we were lucky to have an independent cinema that showed the best Italian films. I was far too young, of course, but they didn't seem to worry much back then, Here it returns, from the BFI, with a new print and a reprocessed sound track to go with it. You have to see this restored version to fully appreciate what a magnificent piece of cinema it truly is. Magnani is stunning, but so are the entire cast, including its numerous child actors. The cinematography We knew it was one of the milestones of European cinema. Now we can see it as Rossellini and his director of photography truly conceived it. bm. NB. Not for minors. The torture sequence is the stuff of nightmares.

The most stiff-upper-lip war movie of them all - as, indeed, it deserves to be. Not a dry eye in the house and every tear a tear of pride. What this magnificent movie depicts is a moment, or rather one whole summer, in British history when Hitler in fact lost the war. The film just doesn't seem to age. Every cast member deserved star billing, no expense was spared - most of them seem to have been stars in their own right - but as actors and actresses, not just as big names. I watched B of B this very evening (14/3/21), fearing a few cracks might show. I felt only one regret, and a very personal one at that. It's well known the producers had dumped Sir William Walton's original score, commissioning a Ron Goodwin replacement, brash and brilliant as one would only expect from the composer who scored "333 Squadron". We are fortunate, however, that the money-men did relent for the long aerial combat sequence that provides the film's climax. It fizzes with Sir William's unique blend of magic and finesse. This final wise decision ensures, ensures, a majestic conclusion.

A lesbian film for grown-ups, such a change.

What a terrific movie. Somehow reminiscent of the early Cassavetes, the camerawork almost cinema verite, the honesty, the unashamed ease of the narrative. I loved every minute of it, so much so that having opted to rent, I went back and purchased. I know I will want to go there again. Five stars. What more can I say? Oh, yes. The cast. Wholly believable, from the two principals to the supporting roles. Syd in one scene even has a pimple on her (right?) cheek which no one has attempted to hide. Lucy not pretty but so beautiful. (Did she have to die?)

I saw this movie on its original release here in England (I still don't know how they let me in the cinema). I was immediately swept away by the young (teenage?) "BB". Despite what they say, it was more than just sexploitation. It was a feast for the eyes... and that wasn't just Bardot. In 1956, England was still a rather grey and charmless place. No Beatles, not even lovely Cliff. No; it was not intellectual at all. We didn't want it to be. Bardot wriggling her sumptuous arse in a tight silk dress in a bus full of standing middle-aged passengers had every bloke in the place deep breathing. I know I was. Great cinema? Hardly. But, oh, such memories!

I have seen a good many war films which, by their authenticity and standpoint, have made a powerful anti-war statement. "The Burmese Harp" is different. It is first and foremost a film against war. It was made as long ago as 1956 and, to the best of my knowledge, it remains available in one of more home formats. I bought my dvd copy from Amazon, who still seem to have it. If you are not familiar with it, look it up on Google, where you will find clips and other references, including sellers. I cannot recommend this film too highly. I wish you well of it. bm.