Bovie Movie

Louis de Bernières’ best-selling novel of love during wartime is brought to the screen in this story that blends comedy, action, and romance. In 1940, war rages throughout Europe, but the fighting has yet to arrive on the Greek island of Cephallonia, where life continues to follow its own slow, deliberate path until word arrives that Italian troops have invaded neighboring Albania. A wave of anti-Axis patriotism sweeps the island, and Mandras (Christian Bale), a local fisherman, is one of a handful of men who volunteer for the army, leaving behind his aging mother (Irene Papas) and the woman he loves, Pelagia (Penélope Cruz), the daughter of the island’s physician, Dr. Iannis (John Hurt). The timing of Mandras and his compatriots proves less than fortuitous, as Italian troops invade Greece in their absence, but the remaining leaders of the island issue an ultimatum — the people of Cephallonia will surrender, but only to a ranking German officer. Since none of the available German officers can speak a word of Greek, an Italian soldier fluent in the language, Capt. Antonio Corelli (Nicholas Cage), is sent in to serve as translator. Corelli stays on with the Greek occupation forces, and he soon finds himself falling in love with beautiful Pelagia, who believes that Mandras was killed in the fighting in Albania. But as romance slowly blooms between the Italian soldier and the Greek girl, Mandras and a handful of surviving soldiers have joined a guerilla resistance faction, and they join up with Allied forces in a bid to retake Greece; soon, Pelagia must choose between the two men she loves, as the Greeks battle both the Italian occupation troops and German soldiers who have been sent in to replace them. Captain Corelli’s Mandolin was directed by John Madden; the project originally began shooting with Roger Michell, but Michell was forced to resign from the film after he suffered a heart attack.

The grim futility of the war between Bosnia and Serbia is reduced to its essence as two enemy soldiers are forced to share a wary trust for one another in this drama. A group of Bosnian soldiers are advancing upon Serbian territory during a misty night when the fog lifts at daybreak, making them plainly visible to their enemy. Serb forces open fire upon them, and soon only Chiki (Brancko Djuric) is still alive, after diving into a trench in no man’s land. Two Serbian soldiers scouting the area set up a land mine using the body of a Bosnian soldier as “bait;” if moved, the mine will jump into the air and explode. Chiki watches as the soldiers set the trap, and furious at the disrespect to his fallen comrades, he kills one of the Serbs, and takes the other, Nino (Rene Bitorajac), hostage. With both soldiers alone and equally armed, they find themselves at a stalemate, and begin trying to attract help from either side. Eventually, the two men are found by a squadron of French soldiers attached to a U.N. peacekeeping unit; now held by supposedly neutral forces, Chiki and Nino are with the French troops when it’s discovered that the dead Bosnian soldier isn’t dead after all, though no one is sure how to disarm the mine without killing him in the process. No Man’s Land was the debut feature from Bosnian writer and director Danis Tanovic.

War and Peace is a commendable attempt to boil down Tolstoy’s long, difficult novel into 208 minutes’ screen time. In recreating the the social and personal upheavals attending Napoleon’s 1812 invasion of Russia, $6 million was shelled out by coproducers Carlo Ponti, Dino de Laurentiis and Paramount Pictures. Some of the panoramic battle sequences are so expertly handled by second-unit director Mario Soldati that they appear to be Technicolor-and-Vistavision newsreel footage of the actual events. Still, the film falters dramatically, principally because of a lumpy script and King Vidor’s surprisingly lustreless direction. In addition, the casting is wildly consistent: for example, while Audrey Hepburn is flawless as Natasha, Henry Fonda is far too “Yankeefied” as the introspective Pierre. Proving too long and unwieldy for most audiences, War and Peace died at the box office; far more successful was the epic, scrupulously faithful 1968 version, filmed in the Soviet Union.