El hechizo de Aquila

Rutegar Hauer shines as Captain Etienne Navarre, a medieval knight and his petite l'amour Michelle Pfeiffer as Isabeau his wonderful Lady Hawk. John Wood plays an utterly nasty Bishop of Aquila. With Mathew Broderick as the little thief and Leo McKern the priest who betrays the two lovers.

This movie stands out for music score, knights and fair ladies in distress, and characters that you can fall in love with. It will have you rooting for the good guys and yelling at the screen for them to vanquish their enemies.

This romantic fantasy is an escape for the real world to a place where love, honor, and courage are rewarded. Where true love is possible, and two people love each other more than life itself. A love like this is almost impossible today.

I adored this film so much that I have three copies of the movie and two of the soundtrack by Alan Parsons Project. I think the background music goes so well with what is happening on the screen. Each of the main characters has their own musical composition, and will make you cheer or cry.

This movie, except for the "over-orchestration," deserves critical acclaim, as most of the comments have illustrated. However, no one seems to have addressed another element par excellence....the horses and equestrianship. Only one commentator made a cursory observation that Navarre's mount was a "farm horse." ... not so! That was a Fresian, one of the oldest breed of horse known and the one which the knights of old used for battle....try to train a "farm horse" to prance! Other breeds included the Lipizans, and it was the antagonists who rode them.

If one were to overlook the fine acting, the excellent storyline, the Romance (literary sense), and the romantic which tugs our heart strings in understatement, the appropriate comedy, the breath-taking camera work utilizing almost no special effects (but surpassing just about everything thrust upon us today), a horse-lover would revel in the production.

However, whoever (not the composers) was in charge of allowing the musical score, should have been barbecued at the stake for ruining an almost flawless classic. Never the less, this movie should not be missed...It will leave you in awe and wonder.

Marvin Cohn

Matthew Broderick stars in Ladyhawke in a role with an oriental setting would have been done by Sabu. There is a lot similaritity between Ladyhawke and the Thief Of Bagdad.

Our juvenile thief is Broderick who is about to be caught by the local troops and pay for his crimes when his capture is interrupted by a strange knight and a hawk. The knight is Rutger Hauer and he's the object of the hate of the local Bishop who runs the town.

Back in the days of The Code this film could never be made. One could not show a clergyman in a bad light and John Wood as the Bishop is as bad as they come. He has an obsession with Michelle Pfeiffer who is the true love of Hauer.

Wood if he couldn't have her, summons the powers of the black arts and curses them both. They can never find happiness because at sunrise Pfeiffer turns into a hawk and Hauer at sunset turns into a wolf and vice versa. Their time together is a moment or two at sunrise and sunset.

This medieval fairy tale is well done and the main players are well cast who also include Leo McKern as a defrocked priest. The sets are outstanding and Ladyhawke got two Oscar nominations in the sound department but lost.

A nice timeless fairy tale from Hollywood.

Richard Donner's 'Ladyhawke' tells a fascinating tale of cursed love that separates two lovers like day and night (quite literally). What I loved about this film is that even though it's a wonderful mixture of action, adventure, romance and comedy, it is a simple film. The execution is solid and it shows that Donner and his cast and crew have put a lot of heart in the making of the film.

The score is kind of funny. At times there's a beautiful symphony that expresses the beauty of the settings and then, during the action scenes, there's the typical 80's hip track which brings a smile as it nostalgically reminds me of that wild decade. 'Ladyhawke' is indeed very beautiful to look at. The cinematography is superb as it gives a very spacious view and the composition of the shots are very well arranged.

No CGI has been used and that marvelously stands out as it gives the film a purer look and only reminds one of the days before CGI was overused, when cinema looked pure and authentic. 'Ladyhawke' is a fine example of movies that can look great and sometimes even better and more effective without CGI (other examples being the Star Wars trilogy (80's version), Indiana Jones etc).

The performances are topnotch. A radiant Michelle Pfeiffer completely owns the title role. Her understated performance and quiet yet strong presence (like a hawk) brilliantly contrasts Rutger Hauer's wolfish character. Hauer too does a fine job. An evil Alfred Molino is barely recognizable and Leo McKern wears the menacing look very well. John Wood provides some great comic relief. However, it is Matthew Broderick who stands out. He performs naturally as the vivacious, energetic, deceitful thief who loses his heart to Ladyhawke and at the same time he is determined to reunite the lovers and rescue them from the wrath of the curse.

Overall, 'Ladyhawke' is a beautiful movie that satisfied my filmviewing experience. It gives that nostalgic feel, it amuses, it fascinates and it feels enchanting. No wonder it still feels fresh after more than two decades.

The leads are physically beautiful almost beyond film comparison. Their moral-spiritual characters match, which should make the film corny. The plot is preposterous, but the main characters, Isabeau and Gaston, prosecute their roles with such unfailing intensity you can't help but accept the nonsense. What is Ferris Bueller doing in medieval France, though? Perhaps the film needs some salty leavening, and at least he makes the plot work a little more efficiently. Overall, I don't have a rational judgement to make but a purely emotional one: I can never forget this film. It has haunted me since the first time I saw it. And that is all down to the pure intensity of Hauer and Pfeiffer.