Reviews

All Of Me!!"

A wonderful comic performance by Martin, matched by Tomlin's restrained, underplayed character interpretation, hit the perfect pitch in this excellent lightweight diversion.

The real payoff of this film is the closing scene. Don't want to spoil it for you, but I will say that watching these two comedic geniuses enjoying each other will put a smile and your face and set your spirit free.

It's "Feel Good" without being maudlin.

This much ballyhooed trilogy of lesbian life and society's acceptance and treatment of that alternative lifestyle, lived up to it's hype.

The 1960's vignette, starring the still incandescent Vanessa Redgrave, is the most emotionally devastating, as we watch the results of that era's fear and forced silence on the remaining partner of a long-term same sex relationship. Simply heartbreaking.

The 1970's story centers more on internal acceptance within the lesbian community. Wonderful performances by both Chloe Sevigny and Michelle Williams. A script that not only captures the essence of the era, but the essence of an issue that was quite pervasive at the time.

The final act, in year 2000, is a sparkler featuring an absolute knockout comic performance by Sharon Stone as half of a lesbian couple who have decided to have an artificially inseminated child. Ms. Stone's nuanced character is nothing short of brilliant! Playing the other life partner is Ellen DeGeneres, who, except for one short lapse into her trademark (and by now annoying) verbal rambling, actually turns in a solid acting performance, perfectly complimenting Ms. Stone. A life affirming poignant jewel told beautifully by director Anne Heche. Ms. Heche's choice for the closing scene is reminiscent of, or perhaps a tribute to, Carl Reiner's in his film "All Of Me", and it produces the same deliriously joyous effect - you're intoxicated by the magic and happiness found in a simple act by those who share the bond of love.

What A Great Film.

Growing up in the 50's gave me the privilege of being one the last generations of filmgoers to enjoy the Saturday afternoon double-feature matinee experience at the neighborhood theatre. These double-features were primarily low budget sci-fi/horror epics with slender threads of plot, lovely damsels in distress (Beverly Garland, Barbara Rush), square-jawed heroes (Peter Graves, Richard Carlson) and budget monsters from Mars, the grave, melted icebergs, mad scientist's labs or atomic fallout. Well not really. The monsters were usually guys in rubber suits (Creature From The Black Lagoon, This Island Earth), or cheap trick photography (Tarantula, Attack of the 50 Ft Woman), or `Mask and Glove' illusions (I Was A Teenage Werewolf/Frankenstein, Monster On The Campus), or, if we were really lucky, a Ray Harryhausen stop motion creation.

Needless to say this wasn't great cinema, but what it WAS, was great fun. Were you scared? Not really. Did you have the need for everything to be fact-based and believable? Of course not! You went to be entertained, to let your imagination merge with the sounds and images and have a good time, laughing or screaming. Could anyone really take the monster from `It Conquered The World' seriously, or wonder whether `The Creature From The Black Lagoon' was biologically possible or if it could anatomically deflower Julie Adams? Didn't matter. Instead, you let yourself meld into the film's world and travel along for the ride.

Thus whether you were on the obviously and badly animated `Angry Red Planet', or trapped with James Best on the island of dogs in make-up which were trying to pass for `The Killer Shrews', you surrendered to the magic.

My heart weeps for the post `Star Wars' filmgoers, these people weaned on special effects, the MTVers and video viewers who've had their imaginations and attention spans kidnapped and are told what to see and how to interpret it. I truly am sorry. You people missed a modern day, Grade B double feature, sci-fi/horror classic called `Anaconda'. And we hadn't seen one this good since `Alien'.

Being an intelligent man, I realize the futility of convincing the non-believers who can't draw from the needed background reservoir to understand, so I won't bother preaching this film's virtues or try to win you over by fact and argument. This, however, is what I will say………

This is a brilliant re-creation of the lost art of the 1950's double-feature horror genre; not really a homage to, more the real thing. It's `Creature From The Black Lagoon', with a really cheesy computer animated snake in place of a guy in a really cheesy rubber suit. It's a Saturday afternoon classic for people who remember and understand them. Story is great, script is great, cinematography is great, direction is great, acting is great, the women beautiful and endangered, the heroes machismo and handsome, the monster phantasmagorical, and we get a bonus surprise by one of the greatest American actors, Jon Voight, doing a magnificent over-the-top, slimy, nasty, reprehensibly heartless villain, complete with a sly wink to the audience. His performance is the key to the film. He understood the film's intent and translated it to the screen for you. If it's in your realm of understanding and experience, you get it and are able to partake in this little slice of cinema heaven.

In 20 years, they'll be calling this a classic. I'm calling it one now.

Growing up in the 50's gave me the honor and privilege of being one the last generations of filmgoers to enjoy the Saturday afternoon double-feature matinee experience at the neighborhood theatre. These double-features were primarily low budget sci-fi/horror epics with slender threads of plot, lovely damsels in distress (Beverly Garland, Barbara Rush), square-jawed heroes (Peter Graves, Richard Carlson) and budget monsters from Mars, the grave, melted icebergs, mad scientist's labs or atomic fallout. Well not really. The monsters were usually guys in rubber suits (Creature From The Black Lagoon, This Island Earth), or cheap trick photography (Tarantula, Attack of the 50 Ft Woman), or "Mask and Glove" illusion (I Was A Teenage Werewolf/Frankenstein, Monster On The Campus), or, if we were really lucky, a Ray Harryhausen stop motion creation.

Needless to say this wasn't great cinema, but what it WAS, was a great fun time. Were you scared? Not really. Did you have the need for everything to be fact-based and believable? Of course not! You went to be entertained, to let your imagination merge with the sounds and images and have a good time, laughing or screaming. Could anyone really take the monster from "It Conquered The World" seriously, or wonder whether "The Creature From The Black Lagoon" was biologically possible or if it could anatomically deflower Julie Adams? Didn't matter. Instead, you let yourself meld into the film's world and travel along for the ride.

Thus whether you were on the obviously and badly animated "Angry Red Planet", or trapped with James Best on the island of dogs in make-up which were trying to pass for "The Killer Shrews", you surrendered to the magic.

My heart weeps for the post "Star Wars" filmgoers, these people weaned on special effects, the MTVers and video viewers who've had their imaginations and attention spans kidnapped and are told what to see and how to interpret it. I truly am sorry. You people missed a modern day, Grade B double feature, sci-fi/horror classic called "Anaconda". And we hadn't seen one this good since "Alien".

Being an intelligent man, I realize the futility of convincing the non-believers who can't draw from the needed background reservoir to understand, so I won't bother preaching this film's virtues or try to win you over by fact and argument. This, however, is what I will say...

This is a brilliant re-creation of the lost art of the 1950's double-feature sci-fi/horror genre; not really a homage to, more the real thing. It's "Creature From The Black Lagoon", with a really cheesy computer animated snake in place of a guy in a really cheesy rubber suit. It's a Saturday afternoon classic for people who remember and understand them. Story is great, script is great, cinematography is great, direction is great, acting is great, the women beautiful and endangered, the heroes machismo and handsome, the monster phantasmagorical, and we get a bonus surprise by one of the greatest American actors, Jon Voight, doing a magnificent over-the-top, slimy, nasty, reprehensibly heartless villain, complete with sly wink to the audience. His performance is the key to the film. He understood the film's intent and translated it to the screen for you. If it's in your realm of understanding and experience, you get it and are able to partake in this little slice of cinema heaven.

In 20 years, they'll be calling this a classic. I'm calling it one now.

Definition: the `stupidity' factor – 1. smart characters doing stupid things which result in peril; 2. underestimating the audience's intelligence.

With the Scream trilogy complete we now know that it really is all about the script. Craven's direction remains a constant as do the leads. With part three, the in-crowd humor shines as brightly as parts 1 and 2. Sadly the last of these films eventually meets it's Waterloo in Ehron Kruger's script, especially in the second half of the film. Kevin Williamson, who scripted parts one and two, held his audience and characters in much higher regard, keeping the `stupidity' factor almost non-existent, or at least within believable limits.Unfortunately Kruger's `Scream 3' pushes the `stupidity' factor back up to the typically intolerable slasher film level, with main characters, who avoided stupidity in parts 1 and 2, now demonstrating they have not an ounce of sense or learned anything from past experience. In addition the plot twist to supply us with the reason for last of the slasher/slashers is blatantly guessable from the minute the first hint is dropped, even if the slasher/slasher's identity is not. And there is such an over-abundance of red-herrings and `off-camera' doings, that guessing the identity is simply pure luck – it could be any of many.

Sadly, while a passable film, `Scream 3' ends the series on a very disappointing note.

Here is the definitive `feel great' film, the springboard to `worthwhile'. Here's `Auntie Mame'. I defy you not to feel exalted after experiencing this wonderful cinematic treat and the incomparable performance of the brilliant Roz Russell.

You'll laugh. You'll cry. You'll live!!

Hitch's greatest achievement was not his cinematic techniques or his oft and justifiably praised films. Instead, that rotund jokester, pulled the wool over the eyes of the world in general and, more importantly, those of the pretentious cinema dandies who's voices resulted in prestigious awards, by serving up and having it accepted and lauded as the year's best "oh so serious" drama, a flaming, hilarious over-the-top melodramatic potboiler which wound up outdoing any '50's Lana Turner film, any '60's Jackie Susann novel, or any '90's Heather Locklear television vehicle.

Blasphemy? I think not!

While staying true to the novel's plot and storyline, Big Boy Al, and I must think this was intentional, lets his stars take their characters to the land beyond absurd while all other aspects of the filmmaking maintain dramatic normalcy. The result is pure genius. Joan's shy little ingénue is so cloying and whiny that you want to continually slap her, forget marry her. Florence Bates, as Joan's overbearing name-dropping employer, all but steals the movie's early scenes, as she bullies everyone in sight, delivering her lines in the slyly nastiest of manners. Enter Sir Larry (Maxim de Winter), the most foppish, arrogantly spoiled non-feeling idiot the aristocracy has ever produced, blatantly overdramatic and casually indifferent to everyone else who inhabits the world. His performance is "fall-down funny" brilliant, as he takes care to make absolutely sure that there is not a hint of chemistry between him and Joan, his future Mrs. de Winter.

But it's not until Maxim and his new childlike bride return to the family estate, Manderly, that Hitch plays his trump card, Judith Anderson as the gloriously nasty and nuts ("is she a lesbian?") housekeeper, Mrs. Danvers, who is still inhabiting, at least in her warped little mind, in a world lorded over by the FIRST Mrs. De Winter, the enigmatic and unseen Rebecca, whom she was simply "devoted" to, and who perished in a tragic boating accident near Manderly's shores. Miss Anderson turns in the comic performance of her or anyone else's lifetime - watch her eyes (Cloris Leachman owes "Danny" everything).

So there is the setup. I strongly urge you, keeping in mind everything you've been privy to here, to sit back with a couple of friends and watch one of the finest comedies ever committed to film.

A trilogy of gay/lesbian stories tracing societal attitudes towards homosexuals and the homosexual lifestyle from the 1950's to the present, this is the first "legacy" film for gays.

Superbly written, acted and produced, the three tales revolve around the themes of prejudice and acceptance, with the middle story of a young student's "coming out" as an impetus for his role model teacher's lifestyle disclosure, being the standout episode and should be seen by anyone wrestling with their sexual identity.

Bravo Paramount and Showtime for this outstanding and compassionate film.

Although one of the most visually stunning and lavish musicals of the 50's, TNBLSB sacrifices story and characterizations for a glossed over travelogue (with countless musical interludes) of the times and trials of the "Donahues", an all-singing, all-dancing, all drinking, all praying, all angst-ridden Irish Catholic family of vaudevillian troupers.

Complete with every imaginable cliché for both the Irish Catholics and for a clan of show business kinfolk, the plot quickly becomes agonizingly plodding. Fortunately, about a quarter of the way through the film, you realize that the plot is incidental and that you should really just be paying attention to the staggering amount of extravagant musical numbers being hurled at you. And extravagant they are!!!! Looking at each frame individually, you come to appreciate the magnificent pastel works of art the technical staffs devised. From make-up to costumes, set design to lighting, choreography to all-important cinematography, you witness the careful blending and joining of each area to form the perfect whole. Even the weak numbers are such astonishing eye-candy that you'll sit mesmerized. Stunning!

Now, here's the "411". MGM OWNED the musical genre in the 50's (check your film lists). Someone at Fox decided that they were going to outdo "the lion" with the biggest, splashiest musical of the decade. So they started with the endearingly familiar Irving Berlin's songs; added Broadway Diva Ethel Merman, singing for the first time on film, the title song she had already established as a beloved standard in "Annie Get Your Gun"; blended in Donald O'Connor, fresh off his critically acclaimed "Singing In The Rain"; spiced it up with Johnny Ray, the hottest singing pop star de jour; sprinkled their "under contract" dancing ingénue, Mitzi Gaynor, into the mix; garnished it with grade B stalwart hoofer, Dan Dailey; and finally topped it off with their ultimate, scrumptiously sensual cherry - Marilyn Monroe. It didn't work. The pitiful script, badly miscast roles, and lack of direction (and acting talent) in the dramatic scenes proved to be this endeavors undoing. The only soul to rise unscathed above it all is Miss Monroe. She turns in a little gem of a comic performance, handles the musical numbers beautifully, and gives us a peek at the star to be. On the other end of the spectrum, Ethel, as your mom, chomps, chews and swallows every scene she's in (she's scary to watch), and poor Mitzi and Johnny just don't have it (watch Mitzi's tear wrenching scene at the end).

Even with it's flaws, this is a film well worth watching - but only in it's original WIDESCREEN Cinemascope dimensions - pan and scan versions are disastrous.

This brilliant interpretation of the stage play can best be described as Busby Berkeley on psychedelics. The concept of turning over this material to the visual madman, Ken Russell, was inspired, as was casting supermodel Twiggy in the lead role (who would have ever guessed she could embody the "sweet song and dance ingenue" so magnificently!).

Mr. Russell has delivered an outrageous homage to English song-and-dance theatre, as well as American movie musicals of the 30's and 40's, all bundled up snugly in one gem of a fall-down funny flick.

Everything is right on the money in this film, from the directing, to the brilliant cinematography, to the musical presentation of those beloved "old standards", to the eye-popping candy costumes and sets. What impresses me the most, however, is the supporting cast. Each actor turns in a such a flawless performance, it results in every subplot becoming just as integral, and interesting, as the main plot. Thus you become a willing captive for 2 hours and 17 minutes for this dizzying magic carpet ride. And, as a bonus, it's "feel good" without being schmaltzy!

Wonderful!

The apex of 60s exploitation pix, with Sal Mineo, painted into over-exposing pants, as a proto-Travis Bickle: a pornophilic, body-building Times Square (filmed in its seedy heyday!) habitué fixated on disco dj/dancer Juliet Prowse. A smorgasbord of Hollywood taboos, including masturbation, incest, child abuse, transvestism, and lesbianism. Unbelievably wonderful!

For 10 years this was the tv show for those who liked their wit intelligent and their repartee snappy. Whether you leaned toward the "Joel" or the "Mike" years, or whether it was "Clayton" or Pearl" of the clan "Forrester" who spiked your favorite cup of poison, the show's standards and, more importantly, respect for their audience's general knowledge and intelligence, remain unparalleled on the tube.

From the initial sci-fi/horror schlock offerings, to the Euro-trashy musclemen-in-loincloths staples, to the inept agents-of-whoever, only the choicest of cinematic faux pas' were poked, prodded and dissected by tv's sharpest minds to the delight of all loyal Misties. My personal favorite skewering - "Kitten With A Whip"! Viva Ann-Margret!

This was "The Golden Age Of Television".

If you enjoy films that furtively draw you in as they gradually reveal their world, it's inhabitants and their doings, this a cinematic stopover for you. Lasse Hallström's gentle coming of age film is such a heartfelt labor of love, you quickly forgive it's obvious predictability.

Magnificently photographed, and laced with a haunting recurring musical theme, it's stellar leads and supporting cast capture perfectly the tone and feel of the material. No great surprises or ground breaking grandness here, just a beautifully made film about life, love, choice and the human condition.

Peter Chelsom's film is not everyone's cup of English tea. Those expecting your standard comedic romp should avoid it. However hardcore devotees of cinema or comedy will be entranced as they watch this insightful study into the nature of comedy, cloaked under the guise of a comedy/mystery. Just what is "funny", and walking the fine line between comedy and tragedy are this film's main concerns, and both are admirably addressed with intelligence. The film is not without flaws, but none is serious enough to deter from the connoisseur's overall enjoyment.

Now there are three tasty treats to be found here. Foremost is Lee Evans. Watching his pivotal character unfold is a revelation. Secondly, George Carl and Freddie Davies, as Evans' uncles, are comedic genius. And, last, is Chelsom's casting of Ruta Lee. A comedy staple since the 50's, this delightful actress, who has been overlooked for too long, delivers the "Jewish-Mother-Of-Death" to perfection.

See this movie.

Julie Taymor's lack of a cohesive directorial vision is the problem this film cannot overcome. This film, which hopefully will be Miss Taymor's last, is a pretentious hodgepodge of cinematic cliches served up amidst a mishmash of visual styles and settings, that not even the fine performances of Mr. Hopkins and, especially, Miss Lange can save. It's 3 agonizing hours of embarrassment as you are forced to witness the catastrophe of this classic becoming "tragically hip". This is Julie Taymor's "Showgirls" - not bad enough to be good, just plain bad. Don't believe the positive reviews. Don't waste your time or money. Dreadful.

Bravo Bava! This is cinematographer/director Mario at his excessive peak in this brilliantly fast and furious slasher classic. From the chilling outset to the "knock you out of your seat" closing, Bava handles the breaknet speed of plot development and the whirlwind body count escalation with masterly finesse. This is all served up with his trademark excesses of color, cinematic camera techniques, diametric mood shifts and glorious ghastly gore at there pinnacle, as well as with the slyest Italian tongue-in-cheek. The definitive slasher flick. God Bless Bava!

This is the movie "Galaxy Quest" wanted to be.

Absolutely hilarious script, executed with style and wit, double entendre loaded, spiced with loving hommage after hommage, Robert Urich at his most deliciously hunky, Anjelica Huston looking tough-dyke fab, the biggest, bestest, blackest afro-sheen robot, and Bruce Villach as a more fabulous outer space queen then Zsa-Zsa, makes this little film a lost gem.

Don't worry about plot and storyline; they're there and well above standard for the genre. The real joy is watching the actors immerse themselves in the gloriously campy dialogue, and relishing the appropriate cheesy special effects.

Enjoy!

Late in the decade, writer/director Paul Thomas Anderson delivers the definitive ensemble cinematic masterpiece of the 90's, perhaps the best of it's genre since Altman's "Nashville". It's foundation, of course, is the story line – in this case lines; a multitude of characters, all sharing different aspects of a central theme of `child and parent', hurtling toward their individual destinations. Each character, and their individual, or sometimes shared, story, is strong and captivating. The hand of God reached down and touched Hollywood when this film was cast. It would take volumes to praise the cast individually – indeed, the entire cast, for this is an actor's movie and all the actor's meet and surpass expectations, working at their peak, stretching their muscles, and gambling with their talents. And they all shine. You just don't find this any more.

I must mention, individually, three members of the cast. Two relative newcomers, Philip Seymour Hoffman and Melora Walters both will undoubtedly receive Oscar nominations. You'll be reading a lot about them from anyone who reviews the movie. Allow me to focus on the third actor, Tom Cruise. Playing against type, Tom continues his evolution from `male ingénue' to `upcoming' to `movie star' to `actor'. The promise seen in `Rain Man', and subsequent roles, has been kept. In `Magnolia', Tom forsakes star status, joins the ensemble and delivers a powerhouse performance as the adult product of a most unique childhood. Alone, he is worth the price of admission. On the technical end, all is flawless with lighting and sound at the forefront. Anderson, who both wrote and directed this morality tale, takes you on a cinematic journey filled with unexpected twists which literally take your breath away. You've never seen a film quite like this. Bravo! One of the best films of this or any year.

A wonderful opening which catapults you from a chase sequence among aliens in their space ship, to a college prom night in the 50's complete with an escaped axe-wielding maniac, to an 80's college campus' Greek row during "Rush Week", each scenario laced with intentional humor, raises your hopes that you're about to be treated to a fun tongue-in-cheek horror homage. Unfortunately, these and but a handful more, make up the most interesting moments in this film. And what a shame, because the premise is fun, the storyline interesting, the actors likeable, the special effects wonderfully appropriate, but these all are sadly overwhelmed by morose dialogue and lack of direction. So invest 10 minutes and watch the film's setup - it really is fun.

Atrocious acting. Dreadful script. Terrible cinematography. Heinous dialogue. Abominable songs. Horrifying sets. Cheesy costumes. Painful direction. And the biggest collection of the world's most deplorable wigs. These add up to the best WORST movie ever made – Valley Of The Dolls. Based on the pot-boiler book of the same name by the 1960's equivalent of our Jackie Collins, this is a triumph of Hollywood at it's worst. It is a marvel of consistent bad taste and bad choices, absolutely nothing is right. Yes, this IS the TEMPLATE for the `oh my God, it's so bad it's good' movie. The best unintentional comedy Hollywood has ever produced, it's a national treasure.

Plot: tracing 3 beauties rise and descent in the entertainment industry…..but who cares. The real deal is experiencing the film unfold as you sit there watching, in total disbelief, at how bad everything is. It's simply mind-boggling. Bravo 20th Century Fox.

The movie has a plethora of pinnacles of badness, but I'll only peak your interest with my favorite – Helen Lawson's (scenery-chomping Susan Hayward) musical number, `I'll Plant My Own Tree'. Initially you'll be aghast by the eye-popping set and by the song's ludicrous lyrics, but try to push these aside and focus on Susan's facial expressions – `The Exorcist' pales by comparison.

Buy this movie! Oh - And Leonard Matlin - Get A Clue!!!

This exercise can best be described as an eternally endless music video. Plot is nonexistant. Character development is absent. Acting is one note. Thus, there is nothing that appeals to the mind or soul. There is, however, an overabundance of well photographed quick shots, artfully, if somewhat darkly, lit, a sound effects track so overwhelming you can bearly hear what they're trying to pass off as dialogue, and a wonderfully quirky techno soundtrack. And of course it's stars are part of the nouveau hip! And that is what this is aiming, too tragically, to be - HIP, and sadly it's aim is way off. This film will find favor among the short attention span MTV crowd, but for those who enjoy cinema, STAY AWAY - IT'S BORING!

Stars Ava Gardner and Robert Walker. Walker gives a flawless comedic performance as a department store window dresser who kisses a statue of Venus which then comes to life (gee, think "Mannequin" ripped this off).

A wonderfully written intelligent script, the most beautiful love song, written by Bertohlt Brecht, as it's theme music, a supporting cast that boasts one of Eve Arden's most brilliant performances and '40's singing heartthrob Dick Haymes, as well as the most glorious wardrobe for the 3 female leads, all add up to an evening on Olympus.

It is, however, Ava Gardner who will captivate your heart, capture your soul, and make you believe in magic. It really is a once in a lifetime performance - her look, her vocal inflection, and her miraculous stance and walk will convince you that she IS the Goddess of Love. A classic beauty.

One of the best romantic comedies ever!

Unnerving reverse black and white cinematography, a wonderful first time crack at direction, a plethora of visual cinematic tricks and techniques, a fascinating concept, a wonderful electro/jungle soundtrack, and solid acting falter under the writer's/director's script which tries but fails to excite or entice us into the main characters world of mysticism fused with mathematics as he searches for meaning and being in the realm of numbers. Only for cinephiles.

A marvelous comedy concerning a troupe of oddball, misfit actors who travel to a small village to stage a production of "Hamlet". Director Branagh serves up some wonderfully heartwarming sentiments while managing to keep us laugh and on our toes. His excellent direction, a witty script, and stellar acting -absolutely stellar - by the ensemble, add up to an gratifying cinematic experience! Despite a few minor flaws, the film works about 75% of the time, and when it does, it's downright hilarious. Pay close attention to the dialogue - it's venomously funny; and the black and white cinematography, and the sets, are magnificent. Two special treats for the cinema connoisseur - a brilliant Joan Collins, and a surprise cameo from Jennifer Saunders.

This film, while supplying us with Argento's main staple of cinematic techniques and casting, successfully adds fx animation as a suspense heightening tool. Story line is a bit convoluted, dialogue is "English-As-A-Second-Language", and clues to solving the mystery are non-existent. But fans have come to expect these. Argento's a master at setting mood through both camera work and music, and these qualities are in abundance throughout the film. His camera is in love with star Jennifer Connelly, who has never looked more lovely, and who turns in a quite credible performance.

The most fascinating aspect about this mystery is not trying to figure out who the bad guy is, but who the hero is. And when the hero is finally revealed, observing your own reaction is well worth the price of admission. Argento fans - S E E T H I S M O V I E. It's gore as art and it works. Novices who are interested in the director, should start by seeing "Suspira" or "Bird with the Crystal Plummage", since they're a bit more accessible.