The only explanation I see for this horrific attempt to bring mysticism to the 21st century is that some people don't get wiser, and instead get religion with age. Also, writing, financing and directing your own movie is a recipe for disaster if you have lost the discipline and force a dictatorship on the set, with no criticism around to prevent your excesses. Ganz acts with his usual grace and Lara makes the most of her international chance, but it's the very ideas behind the film that deserve to be buried in the millennial caves it comes from.

Great (individual) scenes, photography, acting and dialogues that make any criticism feel almost like an offense. But, as a whole, it's a rather convoluted and tortuous storyline with frankly several unneeded parts. How many references to the war? How many different languages? How many different accents? How many different recordings? How many different locations? How many conflicts? Again each fragment is beautiful, but wow! A bit too much happening in this movie that doesn't blend very well. Maybe better editing would render this a more interesting movie

I'll concede that at times the narrative is frustrating, but that doesn't mean this movie deserved the excessively nasty criticism it received. Coppola is playing around with so many genres here that I found myself drawn into the dense plot, hell even the seemingly unconvincing romance pays off in unexpected ways.

Another lost rating. Ugh… Main points were that Coppola was very ambitious in making this and it was a very complicated film. I turned on his commentary part way through and that made a big difference to help me understand what he was going for, because it wasn't clear. It is a beautiful film and was well made. It was an STG DVD.

Oh my god. Coppola tries to out Kubrick Kubrick: cinematography, lighting, shots, angles—except they were all pretentious cliches that had zero to do with the story. The dialogue is laughable, the situations are ridiculous, and the various time/location "plot" sections appear to be either Coppola wanting to use some Nazi costumes in threatening circumstances (that had nothing to do with the film)... or Francis wanting to hang out in some exotic locales that seemed chosen, not for the story line, but for their scenery and the quality of local hotels. Ugh. And the plot, omg, Coppola probably read some upanishads, listened to George Harrison songs, and got interested in the origins of language. And the "romance" was as emotionally appealing as watching two mannequins speaking in tongues. It was as if the two stars made love looking at cue cards. Mind you, I love difficult, intelligent art films, but this was one long jerk off on celluloid by a master who's lost his mojo. These egotistic auteurs need someone to say "really, dude, a swastika on a garter?"—"come on man, an upside down shot?!" —-Or better yet "No, that doesn't work!" I was actually saddened to watch this high budget student film from one of America's legends. It was pathetic and he should be embarrassed: it was that bad.

You have the feeling it changes the "rabbit to chase" every half an hour but, at the end, you did not have a bad time but did not learn anything at all.

I'll concede that at times the narrative is frustrating, but that doesn't mean this movie deserved the excessively nasty criticism it received. Coppola is playing around with so many genres here that I found myself drawn into the dense plot, hell even the seemingly unconvincing romance pays off in unexpected ways.

Historia muy interesante acerca de como el tiempo podría fluir de maneras distintas a la manera lineal a la que estamos normalmente acostumbrados.

This movie deserves far more praise than it has received. A cinematic portrayal of Eliade's novel, and work, is a fantastic experiment, and Coppola pulls it off in spades. Narrating a frustrated academic's search for the origin of language amid the turbulence of twentieth century Europe, through an almost magic-realism lens, provides such a unique cinematic experience. The wistful quality to his search, and love affair, is intoxicating, and Roth makes this character his own. For people interested in broad approaches to cinema, it's simply a must-watch.

?????????????????????????????????????????????????????????????????????????????????????????????

Couldn't even truly watch it, I was so bored.

This movie deserves far more praise than it has received. A cinematic portrayal of Eliade's novel, and work, is a fantastic experiment, and Coppola pulls it off in spades. Narrating a frustrated academic's search for the origin of language amid the turbulence of twentieth century Europe, through an almost magic-realism lens, provides such a unique cinematic experience. The wistful quality to his search, and love affair, is intoxicating, and Roth makes this character his own. For people interested in broad approaches to cinema, it's simply a must-watch.

Visually great but ultimately dull.

The plot isn't confusing and Tarantino mixes more genre's and RT doesn't seem to mind - the movie is pretentious and sprawling but it's also a trip unlike any other.

Francis Ford Coppola returns to filmmaking after a ten year absence...and it is long and confusing and pretentious. Tim Roth stars as an elderly man who is struck by lightning and then becomes young again once he has healed from his injuries. He is also talking to himself in mirrors...and then the nazis show up. Visually, the film looks great, but story-wise...it is missing something. The pretentious nature of this film makes me think about Coppola's early work, Pre-"The Godfather". They were made by a pretentious film student, and this feels like the kind of film that a young guy like that, who never grew up, would make. It is as if Coppola in the 70s was a fluke. This movie is long and kind of boring...if you want to make a slower film with a longer duration...you better have something deeper than interesting visuals and a neat initial premise...this movie doesn't really have more than that.

P?íb?h plný metafyziky, filozofie, schizofrenie, mládnutí, stárnutí a cesty za poznáním. Asi to nechytne kadého, ale mn? se to celkem líbilo.

Mihai cinematography is an exquisite delight making every frame a visual feast that is on occasion too much to absorb. Music is thoughtful full of compassion and feeling, added to this the beautiful sound of the vocals makes this an art piece of the movie world. Script is a psychological mystery that is intriguing and acted so subtly to keep interest to the last word. Nibbles: Beef Carpaccio

Visually it's a masterfully made movie. Unfortunately, it drowns itself in too many subplots, none if them fully reaching its potential, and eventually it becomes too drawn out and incoherent. It was quite a chore to sit through the entire thing, i found myself struggling to stay awake in the last third.

Rezija: Francis Ford Coppola ; Igraat: Tim Roth i Bruno Ganz ; Moze li nekoj sto go gledal filmov da mi go objasni, posto nisto ne razbrav...

Just could not get into this, Tim Roth is an exceptional actor but the story lacks depth or conviction