IMDb RATING
5.7/10
3.1K
YOUR RATING
10 short films by 10 different directors, set to arias by different composers.10 short films by 10 different directors, set to arias by different composers.10 short films by 10 different directors, set to arias by different composers.
- Awards
- 1 nomination
Christopher Hunter
- Assassin (segment "Un ballo in maschera")
- (as Chris Hunter)
- Directors
- Robert Altman(segment Les Boréades)
- Bruce Beresford(segment Die tote Stadt)
- Bill Bryden(segment I pagliacci)
- Writers
- Robert Altman(segment Les Boréades)
- Bruce Beresford(segment Die tote Stadt)
- Don Boyd(segment I pagliacci)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaOrson Welles agreed to direct one segment, and asked for a contract to be sent to him in Los Angeles. He died before signing the contract, which had been sent, according to producer Don Boyd, to an address that turned out to be the funeral parlor in which he was laid out. Boyd is still unsure whether this was Welles' final joke.
- GoofsBuck Henry extinguishes his cigar in the bathroom and, moments later, while on the phone his cigar is lit and he is smoking it.
- Quotes
Jeune Fille: [Armide segment] He looks like he's made for love. He hasn't found my eyes charming enough. He hasn't found my eyes charming enough.
Jeune Fille: O how I'd love to hate him.
- Alternate versionsAmazon Prime has what seems to be an extended version, running 96 minutes.
- ConnectionsFeatured in Siskel & Ebert: Who Framed Roger Rabbit/Aria/The Great Outdoors (1988)
- SoundtracksUn Ballo in Maschera (extracts)
Music by Giuseppe Verdi
Performed by Leontyne Price, Carlo Bergonzi, Robert Merrill, Shirley Verrett,
Reri Grist with R.C.A. Italiana Opera Orchestra and Chorus
Conducted by Erich Leinsdorf
segment "Un Ballo in Maschera"
(extracts - "Prelude", "Re dell' abisso", "Di che fulgor che musiche", "la rivedra nell'estasi",
"Ebben si t'amo", "Mezza notte" and "O giustizia del fato")
Featured review
Opera Anthology
Going to be unoriginal here with my comment, which is that this is a mixed bag. Music is great if you love opera. Otherwise, the pervasive vocalizing might border on torturous since it replaces most to all dialogue in the entire film, depending on the segment.
Going to be further unoriginal with my ranking of the ten segments, from worst to best.
Un ballo in maschera by Roeg: Zog looking like a teenage girl with a fake mustache further distracted from the already senseless amateur looking story.
Armide by Godard: Never been much of a fan of this supposed French New Wave "master"; this was no exception. Oh, wow, gay body builders can't be distracted by naked women. Who cares?
La vergine degli angeli by Sturridge: Black & White religious children's redemption? No idea, had to read an explanation to realize, nope, did not miss anything, did not understand because there was nothing to understand.
Nessun dorma by Russell: Surreal dreamlike nonsense, but there were some creative feeling moments with pretty gems with crystals. Sorta brought to mind some Xanadu? 80s?
Abaris ou les Boréades by Altman: We get to watch the audience rather than the stage. Novel approach, at least something different.
Liebestod by Roddam: Tristan und Isolde interpretation along with some childhood nostalgia for me with vintage Fremont Street & Las Vegas. Other than than, literally bloody senselessness.
Glück, das mir verblieb by Beresford: At least it was very pretty with the ornate set design in the desperate Bruges; young Elizabeth Hurley was also pretty.
Vesti la giubba by Brayden: Honestly, it won out because this segment was shown in small parts as intervals between the other nine. Made it much more bearable and allowed for more moments in quiet reflection on the sadness of the protagonist.
Depuis le jour by Jarman: Editing with the flashbacks was done well. The young Tilda Swinton successfully elicited an emotional response with respectable utilization of the music score.
Rigoletto by Temple: By a landslide, the best segment. The only one with a story that actually kept my interest. The only one that made me smile, even laugh a little. The only one that had true artistic merit that persisted throughout. Filmed on location in California's visually fascinating Madonna Inn. Seemed like only a few long shots; camera work was noticeably skillful. Would have given this segment a 7 on its own, maybe even an 8. Every other segment being a 0 to a very generous 5. Yes, the difference was that significant for me.
Going to be further unoriginal with my ranking of the ten segments, from worst to best.
Un ballo in maschera by Roeg: Zog looking like a teenage girl with a fake mustache further distracted from the already senseless amateur looking story.
Armide by Godard: Never been much of a fan of this supposed French New Wave "master"; this was no exception. Oh, wow, gay body builders can't be distracted by naked women. Who cares?
La vergine degli angeli by Sturridge: Black & White religious children's redemption? No idea, had to read an explanation to realize, nope, did not miss anything, did not understand because there was nothing to understand.
Nessun dorma by Russell: Surreal dreamlike nonsense, but there were some creative feeling moments with pretty gems with crystals. Sorta brought to mind some Xanadu? 80s?
Abaris ou les Boréades by Altman: We get to watch the audience rather than the stage. Novel approach, at least something different.
Liebestod by Roddam: Tristan und Isolde interpretation along with some childhood nostalgia for me with vintage Fremont Street & Las Vegas. Other than than, literally bloody senselessness.
Glück, das mir verblieb by Beresford: At least it was very pretty with the ornate set design in the desperate Bruges; young Elizabeth Hurley was also pretty.
Vesti la giubba by Brayden: Honestly, it won out because this segment was shown in small parts as intervals between the other nine. Made it much more bearable and allowed for more moments in quiet reflection on the sadness of the protagonist.
Depuis le jour by Jarman: Editing with the flashbacks was done well. The young Tilda Swinton successfully elicited an emotional response with respectable utilization of the music score.
Rigoletto by Temple: By a landslide, the best segment. The only one with a story that actually kept my interest. The only one that made me smile, even laugh a little. The only one that had true artistic merit that persisted throughout. Filmed on location in California's visually fascinating Madonna Inn. Seemed like only a few long shots; camera work was noticeably skillful. Would have given this segment a 7 on its own, maybe even an 8. Every other segment being a 0 to a very generous 5. Yes, the difference was that significant for me.
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- ASuiGeneris
- Jan 27, 2024
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Details
- Release date
- Countries of origin
- Languages
- Also known as
- Abaris ou les Boréades
- Filming locations
- Las Vegas, Nevada, USA(Liebestod section)
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $1,028,679
- Opening weekend US & Canada
- $7,580
- Mar 20, 1988
- Gross worldwide
- $1,028,679
- Runtime1 hour 30 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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