User reviews

One of the most charming and, for me at least, the most powerful elements of Anthony Minghella's enthralling Best Picture-winner "The English Patient" is that, in the mid 90s, when Hollywood was in the initial stage of having lost its nerve for grand new projects, a film was created that brought back traces—very powerful traces—of the sweeping, wonderful majesty that crafted movies such as "Lawrence of Arabia" (1962) and "The Ten Commandments" (1956). "The English Patient" contains very much of what made those films so powerful. It has that glorious feeling, a stretched running time that hardly seems long at all, and fascinating characters with pasts and stories.

"The English Patient", based on a novel by the same name by Michael Ondaatje, is like "The Godfather: Part II" (1974) in the sense of how it's constructed. It's a blending of two stories: the past and the present and it all revolves around the titular character: an English patient in the post years of World War Two. Ralph Fiennes plays the English patient, who has been scarred for life by a plane crash, and being taken care of in an isolated church by a single nurse played marvelously by Juliette Binoche. Apart from bonding with her raspy-voiced, troubled patient, Binoche comes to learn about his past when a stranger (Willem Dafoe) arrives and the two men appear to know each other.

That's just one of the two beautifully crafted stories that shape this film. The other one, told in flashback, is the patient's past, before he was scarred and dying in a bed. The story of the present mixed with the patient's past and his love affair that tragically changed his life forever.

To be blunt, "The English Patient" is a love story blended with a sweeping epic sensation and it blends magnificently. What I really admired about the love story between Ralph Fiennes and Kristin Scott Thomas was how passionate, how obsessive, how enchanting it was shown on screen. Usually in love stories, such as Minghella's later "Cold Mountain" (2003), the romantic elements seem far more lustful than obsessive to me. Some of the love scenes feature elements that may tend to be associated more with lust than love, but still, because it is so well developed and not rushed and not exploited out of proportion, we can believe that there is a sure, true love between these characters. It reminded me a lot of "Vertigo" (1958) in how well the filmmakers and performers convinced us that these were two actual human beings who truly fell in love with each other.

Performances all around were great. I was especially enthralled by the performance by Juliette Binoche, who took home the Oscar for her performance the following year. I also liked Willem Dafoe playing the sort of cynical, questionable character that he's always quintessential at playing. And of course I can't leave out Fiennes and Scott Thomas and their portrayals of two very passionate lovers.

Despite my enormous enthusiasm for this epic, I would be dishonest if I were to describe it as a perfect film. There are two flaws that I cannot glance over. Number one, it is a little too long and the reason for this is my second complaint, there are a few unnecessary subplots. I was not enchanted or particularly interested with the second love story between Binoche and a bomb specialist played by Naveen Andrews. My research has led me to assume that this plot element comes from the original book and I'm sure it worked perfectly in there, but in the film, it just seems a little…distracting and the relationship between the two characters didn't fascinate me. I was far more interested by Fiennes character and his relationships with his two leading actresses.

Nevertheless, these two flaws are easily forgivable even if they do slow things down a bit. Those put aside, "The English Patient" is an extraordinary achievement of film-making. To me, it was sort of like an insane mix up between "Casablanca" (1942) and "Lawrence of Arabia" (1962), two remarkable and better films, and this effective blend proved to be well worth my time. It is a real shame that Anthony Minghella has left us. For he was a truly gifted filmmaker. This is all the evidence anybody needs.

I beg to disagree with the critics. All things considered, I found this film to be no more than average. Yes, the cinematography is good (allbeit no more than a copy of David Lean's technique and style), the acting is excellent, and the story is good, but...

But, the film is badly structured (here I agree with Berardinelli) and way, way too long... In essence, I would say that the first two thirds of the film are rather bad and essentially boring, whereas the ending is excellent, and manages to partially redeem the rest. This however is not nearly enough to justify all the hype that the film has created and all the Oscars it has received. I am sure there have been better and more deserving films made in 1996.

The English Patient (1996) -

I can absolutely see that this was a well made film and that the actors all gave fantastic performances. The setting was beautiful and the editing seemed to be appropriate, but it was a little bit long and slow for my tastes. Something like an overlong episode of 'Poirot' (1989-2013) without an actual murder to solve.

It's also difficult, because Ralph Fiennes in the lead role of Almasy was not particularly likeable and I didn't feel that keen to follow his story. There's also something very sinister about him. Perhaps it's because his prosthetics appeared to be a practice run for his 'Voldemort' make up years later.

It has that same sort of Mr Darcy ('Bridget Jones' (2001) and 'Pride & Prejudice' (1995)) idea about it. He's very gruff and unfriendly. I can't understand why anyone would fancy him, apart from maybe his physical appearance before the accident, when he was actually quite hot. His attitude towards people and his complete lack of social skills did not make him appealing to me that's for sure.

Kristin Scott Thomas however, plays an interesting and enjoyable character. Katharine is one of those strong females that emerged at the beginning of the 20th century as a result of the two wars. A time when men started to realise the true worth of the opposite gender.

And as always, Kristin delivered it brilliantly.

I had imagined it to be a sweeter romance though. One that was just set in the war, not such a long winded and trying story. I can imagine that the source novel gets the message across in more detail and it may be slightly more enjoyable to read in that respect, because of the amount that they've obviously had to trim away.

The film was apparently four hours long before it was cut and I can imagine there was a lot of hard decisions made at the time, but I personally feel that there could have been even more cuts, to make it more easily accessible for the audience. Willem Dafoe's, Caravaggio and Naveen Andrews, Kip could perhaps have been trimmed out to bring the focus solely on to the relationships that Almasy had with the two lead women. The exploration of those connections would have been enough of a story on their own and enabled the viewer more time to appreciate The "English" Patient himself. Perhaps the romance and attraction would have been more clear as a result too.

I'm not sure I believed in the ending between Almasy and Juliet Binoche's, Hana though? It didn't feel right after all that time together.

I did like the reminiscing back and forth, it helped the story flow and I didn't find myself guessing which time period I was in, as I've had to do with other films.

I'd never assumed that I would be interested in this film, which is why I have taken so long to watch it and while it was a well made, beautifully recorded and edited film, it really wasn't something that I would have chosen to watch for my standard viewing pleasure.

I was guided towards it by its reputation of course, but also by its appearance on two of the Top 100 film lists that I am trying to complete. I can see why it features on these lists, but I personally can't include it in my own Top 100, as its just not my thing. I think that it's one of those films that you just have to watch for yourself and make up your own mind about.

639.08/1000.

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.

Anthony Minghella's 'The English Patient' is a film that takes us back to the golden years of Hollywood. It is grand and impressive in scale, and yet so heartbreakingly intimate in its portrayal of human love and suffering. At the 1997 Academy Awards, the film owned the night, taking home nine awards from twelve nominations, the most decisive cleansweep since Bernardo Bertolucci's 'The Last Emperor' in 1988. Based on Canadian author Michael Ondaatje's 1992 Booker Prize-winning novel of the same name, 'The English Patient' is a touching meditation on life, love and loss, tracing the history of a critically-burnt man in the aftermath of World War Two.

During the war, a man (Ralph Fiennes) is discovered in the burning remnants of a crashed plane. With his face scarred beyond recognition, and with the man seemingly suffering from amnesia, he is assumed to be an Allied soldier, and is simply referred to as "the English patient." After the war, in the mine-ridden hills of Italy, a kind nurse, Hana (Juliette Binoche), who has apparently lost everybody close to her, remains in a ruined monastery to look after the dying man. Over time, she comes to learn more and more about her "English patient," who is actually revealed to be a Hungarian geographer, Count Laszlo de Almásy. Rather than losing his memory in the plane crash, we learn that this scar-ridden man has perhaps chosen to forget his past, both to protect himself from persecution and to cure himself of the tragic memories of his past love. Via numerous flashbacks, we learn of Almásy's former exploits in the Sahara desert, and his romantic liaison with a married woman, Katharine Clifton (Kristin Scott Thomas).

It's certainly easy to see why 'The English Patient' was so successful at the Oscars. It is such a beautiful film, blending the quiet beauty of the Italian countryside with the endless golden sands of the desert. Cinematographer John Seale captures the landscape to perfection; not since David Lean's magnificent 'Lawrence of Arabia' has a film shown the desert with such beauty and grandeur, making particularly good use of sweeping aerial shots from Almásy's plane. Even in the film's more intimate moments, excellent use of close-ups and lighting capture the emotion of the scene, coupled, of course, with the brilliant performances from all the cast members.

A long-time favourite actor of mine, 'The English Patient' might just contain Ralph Fiennes' finest performance, and, considering his history includes such films as 'Schindler's List' and 'The Constant Gardener,' this is not a complement that is to be taken lightly. His Count Laszlo de Almásy is initially a very sympathetic character, but, as we slowly learn more about his past, his likable qualities are eroded by his less-admirable tendencies towards others. "Ownership" is a major theme of the film. When asked by Katherine what he hates most, Almásy replies with "Ownership. Being owned. When you leave you should forget me." However, as the relationship progresses, and Katherine perhaps tries to distance herself from him, Almásy reveals a hint of arrogance, insisting that his love for her somehow entitles him to have her whenever he likes: "I want to touch you. I want the things which are mine, which belong to me."

Juliette Binoche, who received an Oscar for her performance here, is excellent as Hana, the lonesome nurse who fears to love because of the tragedies that have always harmed those close to her. After some time of caring for Almásy alone, she is joined by a dubious Canadian thief, David Caravaggio (Willem Dafoe), who lost his thumbs during the war, and who suspects that it was Almásy who betrayed him to the Germans. Hana also strikes up a tentative romantic relationship with Kip (Naveen Andrews), an Indian bomb-diffuser in the British Army. However, due to her past history, Hana is afraid that becoming involved with Kip will doom him to death, particularly considering his very dangerous line of work.

At 160 minutes in length, 'The English Patient' wonderfully evokes memories of the classic romantic epics of old, successfully finding a balance of mystery, love, joy and tragedy. The ending of the film is heartbreaking and sorrowful, but also uplifting in its own way. Whilst some romantic relationships are doomed from the very beginning, others have a very good chance of bringing happiness. Nevertheless, in every case, it is always better to have loved and lost, than never to have loved at all.

I can understand why some people think this movie is boring. I think it appeals much more to people who are used to the pacing of classic books.

I'm sure many of those who hated it are much like a co-worker of mine who said "Books? I haven't a book since I had to in high school." I checked some of the names of the people who reviled this movie and sure enough it seems many of them think Armaggedon was an "awesome" movie and Chris Farley was a "Comic genius". And that's O.K. Taste is an individual thing.

My sensibilities tell me that the english patient is a very good movie that takes effort to appreciate. Much in this movie is very subtle. It is not a vacation for the brain.(Hey, sometimes the brain NEEDS a vacation, and stupid movies provide that!) Also, it is not a cynic's movie. It's about idealism, tragedy and regret. About how people can want the best but have it all fall apart because of bad choices, and have to go on with the regret of never being able to remedy the situation. Not so much a love story as a tragic one. So many people destroyed because of the selfishness of two people couldn't(wouldn't?) control themselves.

I would ask those who thought the movie boring to watch it again when you feel able to pay full attention to what's going on in the film and how different bits of dialogue dovetail into subtle suggestions of how the characters are feeling and thinking. This movie takes an investment of time, thought and emotion. If this investment is made, I think most people who watch it will feel rewarded.

The producer is not always the most creative contributor to a film crew. Instead, he (or she) is often the one who takes care of the finances and ensures that the established schedules are kept. But then there are guys like Saul Zaentz. A producer who specialized in buying up film rights to important literary properties. And with movies like "One Flew Over the Cuckoo's Nest", "Amadeus" and "The Unbearable Lightness of Being", Saul Zaentz showed that he really could create strong and successful products for the demanding screen audience.

However, in the spring of 1992 many Hollywood insiders believed that Saul Zaentz had bitten off more than he could chew. The producer had bought the rights to Michael Ondaatje's unpublished novel "The English Patient". Together with the author, he then began to transform the text into a useful screenplay. But when Zaentz declared that he intended to let the inexperienced Englishman Anthony Minghella direct, his studio, 20th Century-Fox, withdrew from the project.

The film's future seemed seriously threatened until Miramax showed an interest in the project. When Saul Zaentz then ventured $6 million of his own money, the shooting could finally begin in the Libyan desert. But, due to the external conditions, it was a difficult production. As the work continued, however, the cast and crew grew together, believing in the assignment. During the entire period, Saul Zaentz made himself invaluable, acting as a kind of "godfather" on the set.

Luckily, Saul Zaentz's efforts paid off handsomely. The critics loved the movie, which quickly grew from a respected art house release into a major blockbuster at the box office. And things went even better at the Academy Awards. In addition to winning Best Picture and Best Directing, "The English Patient" took home seven other Oscars. So, with a total of nine golden statuettes, "The English Patient" thus became one of the most honored films in Academy history.

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.

OK. First I must make a couple of points clear. I am in America, I am male. I am, however, also a big fan of Ralph Fiennes. I even know that it's pronounced Rafe. And despite being an American male, my tastes do not run to the I am a caricature of the ultimate male so overwhelming with testosterone that I must blow up things every five minutes and then have passionate sex with multiple women type of movie. I like dramas, I like foreign films. I also read reams of literature. My favorite movies are probably Solyaris and Lawrence of Arabia, a film which many people have compared TEP to.

But I had problems with TEP. First off, comparing this to David Lean I believe to be absurd. Why? Because it has shots of the desert? There are no other possible comparisons in my view. Lawrence of Arabia was about a truly complex and interesting man, however glamorized he might be at times.

But TEP had no characters worth caring for. It reminds me of a book by Don Delillo called Underworld. It's been hailed as a great American novel, but when I read it, the writing and obvious ability to use language were impressive at times, but I was not drawn into the book at all. The characters were self-centered and one-dimensional. I wouldn't care if the New York art house types in the book died and were boiled in their oil paints.

I felt the same way about TEP. The characters were despicable. The tired immoralist in love with his ennui. Oh wow, I think I'll cry. I felt the film was pretentious and overbearing, another diseased child in the inbred line of film royalty, which was hailed as a masterpiece because the producers set out to make one and the critics told us that it was. As in Underworld, the ability to use the form well was evident, but form does not make a great film or novel.

So, needless to say, I was rooting for deaths all round when TEP approached its end, as I felt that I might then have gotten some value for my money. Though this will make some people scream at me, I must lump TEP in with the group of Titanic, Braveheart, Elizabeth, and all such pseudo-epics which attempt to overwhelm you with their passion, but really turn out to be banal and pompous, too aware of their own striving for grandeur.

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.

I give this two stars out of ten. All the hype for this movie and it was about three hours of pure boredom and predictability. If you've seen the episode of Seinfeld titled "The English Patient", you know how I feel about The English Patient. I agree with Elaine's view of this movie 100%. (http://www.seinfeldscripts.com/TheEnglishPatient.html)

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CAROL: Elaine. Elaine, did you just see The English Patient?

GAIL: (tearful) Didn't you love it?

LISA: How could you not love that movie?

******ELAINE: How about, it sucked?********

Blaine gives Elaine a strange look.

(later on the episode)

LISA: We just saw The English Patient again.

GAIL: It's even better the second time.

********ELAINE: They make it longer?***********

ELAINE: I thought you were busy tonight.

BLAINE: (cold) Well, to tell you the truth Elaine. I don't know if I can be with someone who doesn't like The English Patient.

******* ELAINE: It's just a stupid movie.**********

========================================================== That's the bottom line - it's a stupid movie. I thought I was missing out on something by not liking it, but apparently I wasn't the only one. I even tried renting it after it came on video and it was still boring and long and slow.

If you want an action, packed, edge-of-your-seat, emotion-packed love story - DO NOT SEE THIS MOVIE!!! You will be let down, disappointed and bored!!!

That being said, I still adore Ralph Fiennes. Put movie on mute and watch it and you got some good eye candy there.

"The English Patient" is by all accounts a huge movie which has received so much commentary over the past 7 years that there's little point in contributing to the noise. The problem I had with the film was simply it wasn't believable. Everyone in this film does extraordinary and incredibly stupid things, all in the name of force feeding you the film's melodrama. Good in all respect save perhaps it's length and difficult buy-in (I kept wishing he'd just die and get it over with) "The English Patient" has been carefully tweaked to make it easy to swallow. So, if you haven't seen the film yet, be prepared to have to chug-a-lug a whole lot of movie for only a moderate payoff. (B)

"I can't take it anymore. Just die, already." - Elaine, Seinfeld. I read the book and watched the movie and couldn't agree more. Nuff said.

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.

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.

I'm on a Ralph Fiennes kick, so I had to watch this one too of course. For some reason, the film never appealed to me. I guess my gut feeling was right. While I normally like stories like these, I cannot stand any movie longer than 2 hours. Preferably not longer than 1.5 hours.

This just took too long for me. And then I get distracted and miss important elements of the story.

But I can see how people with an attention span longer than that of a toddler enjoyed this.

I like this movie above all others. It is "multi-layered"; there is so much to see and appreciate. Every viewing brings a new appreciation of the story-line, the plot and the characters. Faultlessly acted and extremely enjoyable if you take the time to watch it and appreciate it. I love the interaction between the players; the subtle relationships; the period atmosphere. Ralph Fiennes is perfectly cast as the brooding lover and Geoffrey the wronged husband is beautifully underplayed by Colin Firth. The scene in the sand storm where Catherine & El-masy are discussing the different types of sand storms is one of the high-lights of the film and where the affair really starts. The other relationship between Hanna & El-masy is yet another "layer" of the movie which is totally enchanting (and heart-rending). A worthy winner of so many awards.

Count Laszlo (Ralph Fiennes) has just been transferred to a hospital in Italy during World War II. He is horrifically burned from an ambush. His nurse Hana (Juliette Binoche) tends to him, body and mind, for she fears, quite rightly, that he may be a very troubled soul. In the course of his care, the Count starts to tell Hana of his recent past. It seems he worked in a government capacity in Africa, where he met a beautiful married lady named Katherine (Kristin Scott Thomas). Although they tried to avoid each other, they fell in love. After a brief affair, Katherine called it quits, leaving the Count desolate. Even so, the two would meet again, under heart-wrenching circumstances. Meanwhile, Hana herself falls for a Sihk man in the British bomb squad. Yet, the war is raging relentlessly. Can love exist when the world is in turmoil? This is a tremendous film, based on an equally fine but complex novel. The plot has many story lines that are woven together beautifully, each of them poignant beyond description. The script itself is elegant and contains many memorable lines. Fiennes is magnificent, both as the burn victim and as the man who thought love was a myth. Scott Thomas is also quite fine as the woman who fights against her passions. As for Binoche, she richly deserved the Oscar that she was presented, as her nurse is a shining example of hope in a hopeless situation. The scenery is utterly gorgeous, as are the costumes, the direction, and the production. If you have missed out on viewing this film, rectify that soon, very soon. The English Patient will remain one of the greatest achievements in film for centuries to come.

I don't really know why, but it has taken almost 10 years before I finally watched this movie. I guess this happened because I just didn't have the time for it, although I must admit that I didn't really want to make the time for it either. I'm a fan of war movies and I knew very well that this was one too, but the fact that it isn't one in the most strict sense of the word somewhat scared me off. But only a couple of days ago I saw a similar movie, "The End of the Affair", which was also situated in that time period, which didn't exactly show the war either and which also featured Ralph Fiennes. I really liked that movie a lot and for me that was enough reason to finally give this film a try.

"The English Patient" starts at the end of WWII when an unknown and dying man, who doesn't remember anything of what has happened to him or who he is, is treated in a military hospital for severe burning wounds. When his situation is somewhat stable, he and a lot of other patients are being moved by truck to another hospital. But when a car in the column of trucks drives on a mine, somewhere in the middle of the Italian countryside, the whole expeditions stops until the road is cleared from mines. The Canadian nurse who takes care of the unknown man, finds an empty and old monastery and decides that she will stay there with him until the man dies. She soon wins his confidence and that's how it almost immediately gets clear that the man knows a lot more about his past than what he wanted to admit to his interrogators. Through flash backs we get to know that he is an Hungarian who was employed by the Royal Geographical Society as a map maker in the 1930's. He had to chart the vast expanses of the Sahara Desert with several other prominent explorers. Gradually the riddles of the past are unraveled and his role in the war is getting more obvious...

Somehow I was a bit disappointed by this movie. It was far from bad, but it wasn't exactly what I hoped it would be. Somewhere I missed something in it, although I find it very hard to say what that exactly was. I guess the best way to describe this feeling is by saying that, because of the continuous switching between present and flash back, I wasn't completely sucked into the story this time. It broke all continuity in the story and that did bother me a bit too often. But don't get me wrong, this is still a movie that is far above average and worth watching for several reasons. One of those reasons is the acting. Ralph Fiennes, Juliette Binoche, Willem Dafoe, Kristin Scott Thomas,... They are all very fine actors who I liked in almost every movie that I watched them play in and this movie wasn't an exception to that rule. Perhaps they aren't very well known to the average viewer who only watches commercial Hollywood toppers, but people who also like more 'alternative' movies, will certainly know their names. But next to the fine acting, this movie also offers some great scenes and images. I like the way they shot the Sahara with its sand storms and sand dunes, but I also enjoyed the images of the Italian countryside. I truly believe that those images added a lot to the value of this movie and its story, which was also more than OK of course.

All in all this is a movie that may not be as perfect as I hoped it would be, but that still offered me a good time while watching it. I wouldn't recommend it to the people who only like war movies when there are some big fight scenes to be seen in it, because they will be very disappointed, but when you like a more alternative war movie so now and then, than this might be a good movie to watch. I give it a rating in between a 7/10 and a 7/5.10.

I've seen a few movies in my time, but this one is exceptional. You'll have to watch it more than once to truly appreciate it, it is emotionally very complex, it explores love and passion at it's most extreme and it's cinematography is just breathtaking. The character of the Count is intensely passionate and tragic without him having to raise his voice or indeed leave his bed, the film is perfectly cast and perfectly acted. The film has a sort of mathematical precision and perfection to it which is rare these days. It combines action, love, tragedy, drama and politics all in one. This movie is unmissable, all the hype surrounding it and all the awards cannot begin to do it any justice. Hats off to Michael Ondaatje for writing the incredible book on which it is based.

"The English Patient" is a visually stunning film that, while praised for its performances, ultimately left me feeling underwhelmed. Starring Ralph Fiennes, Juliette Binoche, and Kristin Scott Thomas, the acting is undeniably strong, with each actor delivering a powerful portrayal that captures the complexities of their characters. However, despite the commendable performances, the film's pacing felt excessively slow, making it a struggle to stay engaged.

The narrative, which intertwines love and loss against the backdrop of World War II, has moments of beauty but often drags, leaving me yearning for more momentum. While the cinematography is breathtaking and the score hauntingly beautiful, these elements alone couldn't elevate my overall experience.

I rated "The English Patient" a 7/10, primarily for its stellar cast, but I found it too tedious to consider watching again. For those who appreciate character-driven stories and fine acting, it may resonate more, but it didn't quite capture my interest.

A very dull, hard to follow, and boring movie.In an episode of "Seinfeld", Elaine Benes verbally blasts this movie. She was so right !!!!!