El paciente inglés

It is a strangely powerful and moving experience to see "The English Patient" again after Anthony Minghella's death. Most of his body of work is dedicated to one shattering point. The endless moral struggle of those who, consciously, walk a very thin line. In "The Talented Mr Ripley" Minghella moves away from Patricia Highsmith's amoral Tom Ripley to give the murderer a conscience. In "Breaking And Entering" Minghella gives Jude Law's character the need to confess and the rewards are chillingly moving. Here, in "The English Patient", the characters in love are never too far away from their corroding feeling of guilt. Ralph Finnes and Kristin Scott Thomas are extraordinary. They strip their characters from every pretense in a compelling complicity with us, the audience. Juliette Binoche is, quite simply, spectacular and her scenes with the wonderful Naveen Andrews are filled with a "Minghellian" sensual innocence. Anthony Minghella gave us films that were,one way or another, that elusive mix of art and commerce. He was true to himself but thought about his audience. He knew how to push our buttons without betraying his own. There is something clear, honest and startling about Minghella's opus. I miss him already but I'm grateful for the reflection of his soul he left behind.

Tuscany WW2. Traumatised by the loss of anyone she cared for or loved, Canadian nurse Hana stays behind her unit with a dying patient, Count Laszlo de Almásy. de Almásy is burnt all over and has lost his memory. When a vengeful, mysterious thief arrives at their abandoned monastery with a past that seems to include de Almásy , and as Hana reads from his book, memories return regarding his past. He relives his story of lust and love and the destructive force that forbidden passion unleashed upon his life.

This is quite a modern epic. It has the running time of an epic, it has the gorgeous cinematography of an epic, it has the acting of an epic and it has a story of love (lust) against the backdrop of major events in history. Even though it changes or leaves out a significant amount of the original novel it still manages to be a great mix of passionate desire and mystery. The mystery of the story is represented by the thief Caravaggio who casts light on what he knows of de Almásy's past (as he sees it) while the love story is unfolded as it develops in a passionate affair between him and Katherine, a colleagues' wife. The story is compelling enough to carry the long running time, at times the pace seems a little slow and when I saw it in my local multiplex there were some moments where large portions of the audience seemed to be shifting in their seats.

The ‘love' of the story was interesting as it seems to be contrasted with Hana's relationship with Kip the bomb disposal expert. While de Almásy's relationship with Katherine starts as lust and desire before growing into what seems to be love (or could be grief at the result of their affair), Hana's is portrayed as purer and more careful as she fears those she loves will die. This difference helped me see that the film did want to show the destructive power of lust and affairs, however the fact that the central relationship was based more on lust than love took away from the emotional core of the story.

The acting is almost impeccable. Fiennes is excellent even when he is lost behind an unrecognisable mask of burnt flesh. Thomas is actually very good, I find she tends to be very wooden in some things but this type of very English character brings the best out of her. Binoche is excellent as Hana and carries the heart of the film. Dafoe is truly excellent - his element of the story is the mystery and he does it well. He is a great actor and deserves to be in things this good. The support cast include plenty of good actors including Colin Firth, Jurgen Prochnow and Naveem Andrews.

The film is beautifully shot - even though it's all a bit too picturesque to be real! However the director can handle himself well with many different scenes - a tense bomb diffusal, a passionate love scene, a dangerous sand storm etc. Overall the slow pace may frustrate some younger audiences but this is a really good film that draws it's values from classy sources.

In a style reminiscent of the best of David Lean, this romantic love story sweeps across the screen with epic proportions equal to the vast desert regions against which it is set. It's a film which purports that one does not choose love, but rather that it's love that does the choosing, regardless of who, where or when; and furthermore, that it's a matter of the heart often contingent upon prevailing conditions and circumstances. And thus is the situation in `The English Patient,' directed by Anthony Minghella, the story of two people who discover passion and true love in the most inopportune of places and times, proving that when it is predestined, love will find a way.

It's WWII; flying above the African desert, Hungarian Count Laszlo de Almasy (Ralph Fiennes) is shot down, his biplane mistaken for an enemy aircraft. And though he survives the crash, he is severely burned. To his great good fortune, however, he is rescued by a tribe of nomads and winds up in a hospital. But existing conditions are governed by circumstances of war, and Almasy soon becomes one of many patients being transported via convoy to a different facility. Upon reaching Italy, he is too weak and ill to continue on, and a Canadian nurse, Hana (Juliette Binoche), volunteers to stay behind with him at an abandoned monastery.

Hana soon discovers that her charge is something of a man of mystery, as Almasy remembers nothing of his past, and not even his own name. Thought to be English, the only clues pointing to who he is are contained in a book found in his possession after the crash, but even they are as cryptic as Hana's patient. Slowly, however, under prompting from Hana, Almasy begins to remember bits and pieces of his life, and his story begins to unfold. And his memory is helped along even more by the appearance of a mysterious stranger named Caravaggio (Willem Dafoe), who suspects that Almasy is the man he's been looking for-- a man with whom he wants to settle a score. But, burned beyond recognition, Almasy may or may not be that man. Meanwhile, Almasy's memories continue to surface; memories of a woman he loved, Katherine Clifton (Kristin Scott Thomas)-- as well as memories of Katherine's husband, Geoffrey (Colin Firth). And, crippled in mind and body as he is, those memories become the only thing left to which he can cling with any hope at all, even as his life seems to be slipping farther away with each passing moment.

In addition to directing, Anthony Minghella also wrote the screenplay for this film, which he adapted from the novel by Michael Ondaatje. The result is an epic saga presented in the tradition of Lean's `Doctor Zhivago' and `Lawrence of Arabia'; a magnificent film that fills the screen and the senses with unprecedented grandeur and beauty. Simply put, Minghella's film is genius realized; crafted and delivered with a poetic perfection, watching it is like watching a Monet come to life. From the opening frames, Minghella casts a hypnotic spell over his audience that is binding and transporting, with a story that has an emotional beauty that equals the engagingly stunning and vibrant images brought to life by John Seale's remarkable cinematography; images that virtually fill the screen as well as the soul of the viewer. In every sense, this is a film of rare eloquence, with a striking emotional capacity that facilitates an experience that is truly transcendental. Nominated in twelve categories, it deservedly received a total of nine Oscars, including Best Picture, Director, Supporting Actress (Binoche) and Cinematography.

If one had to choose a single word to describe the `essence' of this film, it would be `excellence.' Even an extraordinary film, however, does not receive nine Oscars without performances that are extraordinary in kind; and the performances given by Ralph Fiennes and Kristin Scott Thomas here transcend the term `Oscar worthy.' Nominated for Best Actor for his portrayal of Almasy (Geoffrey Rush was awarded the gold for `Shine'), Fiennes has never been better, achieving an emotional depth with his character that is nearly palpable. Private and introspective, Almasy is not by his very nature an individual to whom the audience will be able to form an intimate connection; Fiennes, however, finds a way to open that emotional door just enough to let you in, enough so that you taste the honest passion welling up within him. And it works. Almasy does not seek your friendship; he will, however, gain your compassion.

Kristen Scott Thomas, too, received an Oscar nomination for Best Actress (Frances McDormand received the award for `Fargo') for her portrayal of Katherine, a woman whose stoic countenance masks the emotional conflict raging within her, born of the forbidden passion that enslaves her and yet to which she gives herself willingly, casting off her shackles of repression to embrace a love so strong it threatens to consume her. The reserve Katherine must maintain evokes the empathy of the audience, as Scott Thomas successfully mines the emotional depths of her character to the greatest possible effect. It's the kind of performance that draws you in and holds you fast, taking you as it does beyond that curtain of hypocrisy that dictates what must be if only for the sake of appearances, and allows you to experience a true sense of unbridled passion. Understated and shaded with subtlety, it's terrific work by Kristin Scott Thomas.

Binoche gives a stunning, affecting performance, as well, as the kindhearted nurse, Hana; it is her humanity, in fact, which defines love in it's purest sense and offers a balanced perspective of it within the context of the film. Her relationship with Kip (Naveen Andrews) affords us a glimpse of passion of another kind, which contrasts effectively with the intensity of that between Almasy and Katherine. `The English Patient' is a film that will move you and fill you emotionally; one you will not want to see end. 10/10.

as can be read in many reviews here it is a movie you love or hate - apparently not so much space for opinions in between. I for one think that is a good sign.

I always appreciated this movie, although the genre is not my typical style (I never watched Titanic for instance, and am not planning to).

The English Patient grips because it shows how people can be different when they are in an exotic environment as opposed when they are 'home' (Katherine), it shows how destructive love can be in a slow, strong and utterly painful way, it excites because of the extremely passionate affair, the pain of the one(s) who leave behind, how pointless one can feel to move on.

The photography is just stunning, not to mention the play of the actors. The pace is slow, but timely, and that does justice to the book, the timeline, and the depth/development of the characters. To put this in 110 minutes (as some seem to suggest here) would amputate the multi-layeredness of this movie. People tend to have difficulties with the pace of movies... as if they are in a rush to get to work.. hey - get a life ! ;-) enjoy...

I give this movie 4.5 out of 5.

Sometimes I just don't get it with the ratings of the IMDb. I'm writing this review because I'm shocked to see this film at a 7.3 rating. This is so ridiculous. It is really hard to point out a film which is better told, better crafted, having a more deeply love-story and such a overall fascinating aura. I do understand that everything is a question of taste but this masterpiece is so full of beauty and drama that you simply can not rate it under 8. If you do not like it so much = 8 , if you like it = 9 and if you love it's pure beauty = 10 And now go and watch this movie. You wont regret it if you like romance and love story's and beautifully crafted films.