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『 A Year to Remember 2009 Hallmark Ornament > 『 A Year to Remember 2009 Hallmark Ornament > 『 Red-Headed Woodpecker 5th in Series 2009 Hallmark Ornament > 『 Red-Headed Woodpecker 5th in Series 2009 Hallmark Ornament > 『 Sony DPF-D70 7-inch Digital Photo Frame > 『 Sony DPF-D70 7-inch Digital Photo Frame > I wanted to buy It↑

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タイトル『 Kurt Adler Wooden Nativity Advent Calendar with 24 Magnetic Figures > 『 Kurt Adler Wooden Nativity Advent Calendar with 24 Magnetic Figures > 『 Advent Storybook > 『 Advent Storybook > 『 The Adventure of Christmas: Helping Children Find Jesus in Our Holiday Traditions > 『 The Adventure of Christmas: Helping Children Find Jesus in Our Holiday Traditions > 『 Watch For The Light: Readings For Advent And Christmas > 『 Watch For The Light: Readings For Advent And Christmas > 『 Away in a Manger Advent Calendar > 『 Away in a Manger Advent Calendar > 『 Holy Night Advent Calendar >


>


 price：$59.99 
 Kurt Adler
 
Core2Duoノートレビュー 's review
(Wonderful gift!)
『Very nice quality, more substantial and charming than the photo. The doors are easy to open, but stay shut when closed. Because of the background scene, even the placement of the first piece doesn't feel lonely, it just grows in complexity as the days progress.』

(A wonderful family tradition)
『This was a family gift to my grandchildren to help establish a meaningful family tradition. It is extremely well made and should last for years, unlike a lot of other ones(cardboard, plastic etc.) The price was good also by comparison.』

(Very high quality -- worth every penny)
『I almost didn't buy this product because it was so much more expensive than some of the others, but I'm glad I did. When I received it, I realized that this is an advent calendar that will be in our family for generations. It is high quality, good craftsmanship. The little figures are wooden with magnets on the back that 'stick' to the metal manger scene. Each figure is painted in detail, and this year my daughter had a wonderful time examining each of them as I told her their role in the Christmas story. This is a wonderful product to add to your family Christmas traditions.』

(Great Nativity for Kids)
『This was perfect for my two kids, since each got a different colored box to open. They loved the suspense of seeing what they were going to pull out of the boxes and then got to play the rest of the day, moving the magnets around on the background. The background is actually bumpy, not smooth, but the magnets are nice and strong and stay where they are put. Everything is nicely painted and sturdily made. I highly recommend this!!』

(Kids loved it)
『My kids loved the advent calendar. Ages 8, 5, 2 and 6 months. They each took turns opening a door as the season progressed. I purchased before Christmas and today is Christmas eve. It is very well built and magnets are excellent. This will be a tradition we continue for many years.』
『This unique, wooden Advent Calendar makes the countdown to Christmas a magnetic attraction. Behind the doors of the 24 cubicles are magnetic character pieces for children to retrieve each day and place on the metal Nativity Scene. Size 16-3/4W. x 1-7/8"D. x 14"H. Hanging hooks on back. This item is for decorative purposes and not a "toy". Because of the small parts, we recommend it be used with adult supervision. Christmas toys - Ages 3 yrs. to adult."』
『Children can design their own nativity scene over the course of the month with this handsome advent calendar by Kurt Adler. Crafted of wood and painted in a nighttime sky color scheme, the handsome piece features 24 doors around an empty manger. The magnetic character behind each door may be placed in the center to help fill out the scene as the days lead up to Christmas. The calendar measures 14-1/4 inches high by 17-1/4 inches wide and can be displayed on a wall or tabletop.--Kara Karll』
relatred Items
『 Kurt Adler Wooden Nativity Advent Calendar with 24 Magnetic Figures > 『 Kurt Adler Wooden Nativity Advent Calendar with 24 Magnetic Figures > 『 Advent Storybook > 『 Advent Storybook > 『 The Adventure of Christmas: Helping Children Find Jesus in Our Holiday Traditions > 『 The Adventure of Christmas: Helping Children Find Jesus in Our Holiday Traditions > 『 Watch For The Light: Readings For Advent And Christmas > 『 Watch For The Light: Readings For Advent And Christmas > 『 Away in a Manger Advent Calendar > 『 Away in a Manger Advent Calendar > I wanted to buy It↑

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タイトル『 Great Masters of Flamenco, Vol. 6 > 『 Great Masters of Flamenco, Vol. 6 > 『 Legends of Gypsy Flamenco > 『 Legends of Gypsy Flamenco > 『 Great Masters of Flamenco, Vol. 3 > 『 Great Masters of Flamenco, Vol. 3 > 『 Legends of Gypsy Flamenco II > 『 Legends of Gypsy Flamenco II > 『 Great Masters of Flamenco, Vol. 14 > 『 Great Masters of Flamenco, Vol. 14 > 『 Flamenco Puro >


>


 price：$13.21 
 Chant Du Monde Fr.
 
Core2Duoノートレビュー 's review
(a legend in flamenco)
『I have spent many hours listening to another recording of Carmen Amaya---an album entitled "Furia". It was my father's and the record is probably more than 50 years old! In trying to find "Furia" on CD I came across this recording and it is a worthy addition. Carmen Amaya was an amazing talent and I am glad to be able to hear more of her performances.』

(Great dancer, Great guitarist, fine singer)
『Although Carmen (1913-1963) was of course primarily a dancer -- THE female dancer of the century -- she was also an excellent singer with a marvellous Gypsy voice. The material here contains the best tracks from her two definitive albums ("Queen of the Gypsies" and "Flamenco") with the amazing Sabicas on guitar, showing what he was capable of as an accompanist. The rhythm the two of them generate (e.g. on the Bulerías or the Jaleo Canastero) is nothing short of phenomenal. The recording quality is also considerably superior to that of the other tracks (from around 1950) with José and/or Paco Amaya on guitar, for which I deduct a star.

The total time is 55'12".』

(Yeah, they other reviewers are right: GET THIS ONE!)
『I went to Spain and came back to the U.S. and looked for female flamenco vocalists. I went to my local new/used CD store and returned almost all of the cheesy compilations I got my hands on. Based on the reviews here, I got this one and I thought that because it was from old records, it'd be more along the lines of an"educational"CD you don't listen to so often because of the quality of sound.

In fact, I even waited to take the plastic wrap off because I figured I might just skip it and send it back since I'd bought so many other things---I figured I was ahead by loving Carmen Linares and Virginia Rodrigues (she's Brazilian and not doing flamenco stuff--check her out).

Ah! But I was wrong! Even after one initial listening when I was preoccupied, I stopped and actually listened because these other folks here are right: it IS different. There's a spontaneous and live feel, and so you don't care or notice anything about there not being"stereo"or"base"so you can turn it up full blast (like CARMEN LINARES' strong and beautiful flemenco CD).

The songs are fun, energetic, sweet and sexy and don't all sound alike and you'll probably find a favorite or two right away. Sometimes with some music it takes a few listens, but I don't think you'll have to wait for any of these to"grow"on you.

I want to SEE what this woman LOOKS like and I can't believe such wild and beautiful energy can actually leave this world. But more than that, I can't believe that if she's also the amazing dancer I hear she is, that we have to unearth her name and scrounge around to find images of her dancing and only one CD available.』

(The Queen of the Gypsies at her Best!)
『La Reina del Sacremonte, will always be remembered and well respected. She is and always will be the undesputed best at what she did, no other then or since can compare. Feel the magic, and let the Duende take over you. And yes that is Carmen Amaya with the fancy foot work and aluring voice. With Famouse Flamenco guitarist Sabicas at her side this album deserves two thumbs up, and 5 stars!"OLE! VIVA LA REINA DE LOS GITANOS"』

(If you buy only one flamenco disc.)
『The classic of Flamenco records. Carmen Amaya and her family/troupe with the Grand Master Sabicas on guitar. A compilation of her 3/4 records from the Decca of the 50's. Yes that is a woman doing that heelwork. This is traditional Flamenco at its best. I must have 100 records/ CD,s-nothing else like it. Nothing else has approached it since. The quality is just OK-seems to have been transferred from scratched LP's (a few cuts are from the original very old 78 and are an archive treasure).』

relatred Items
『 Great Masters of Flamenco, Vol. 6 > 『 Great Masters of Flamenco, Vol. 6 > 『 Legends of Gypsy Flamenco > 『 Legends of Gypsy Flamenco > 『 Great Masters of Flamenco, Vol. 3 > 『 Great Masters of Flamenco, Vol. 3 > 『 Legends of Gypsy Flamenco II > 『 Legends of Gypsy Flamenco II > 『 Great Masters of Flamenco, Vol. 14 > 『 Great Masters of Flamenco, Vol. 14 > I wanted to buy It↑

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タイトル『 Boulez: Notations; Figures-Doubles-Prismes; Rituel > 『 Boulez: Notations; Figures-Doubles-Prismes; Rituel > 『 Béla Bartók: The Wooden Prince / Cantata Profana - John Aler / John Tomlinson / Chicago Symphony Orchestra&Chorus / Pierre Boulez > 『 Béla Bartók: The Wooden Prince / Cantata Profana - John Aler / John Tomlinson / Chicago Symphony Orchestra&Chorus / Pierre Boulez > 『 Boulez conducts Boulez > 『 Boulez conducts Boulez > 『 Messiaen > 『 Messiaen > 『 Olivier Messiaen: Vingt Regards sur l'Enfant-Jésus > 『 Olivier Messiaen: Vingt Regards sur l'Enfant-Jésus > 『 Olivier Messiaen: Quartet for the End of Time >


>


 price：$16.99 
 Disques Montaigne
 Usually ships in 24 hours
Core2Duoノートレビュー 's review
(Figures, doubles, prismes in a splendid performance)
『I'm mainly writing to defend Figures, doubles, prismes in the light of comments from two other reviewers.

There is now a whole new generation of Boulez fans that has acquired its enthusiasm for Boulez's music from the works Boulez has written since 1970, from music that a friend of mine refers to as "Boulez lite." More or less contemporaneous with Boulez's most original, ambitious, and fully realized work, Pli selon pli (1962), Figures, doubles, prismes (1963; 1968) is anything but Boulez lite. This teeming work is an exhilarating ride, brilliant demonstration that Boulez was once one of the great contrapuntal masters. The elegant and ceremonial Rituel is simply not in the same league.

It's good to have recordings of the five extant Notations on a single disc, and Notations I, III, and VII in particular demonstrate that Boulez still has some of the contrapuntal and developmental powers that were at his disposal in Pli selon pli and Figures, doubles, prismes.

Figures, doubles, prismes receives a thoroughly assured and gleaming performance from Robertson and his virtuosically secure forces, although I still prefer Boulez's own magnificent Erato recording.

-david gable
』

(Robertson steps up to the podium and reveals a splendid take on Boulez's music)
『On this Naive disc, David Robertson conducts the Orchestre National de Lyon in seven pieces by Pierre Boulez. Most of Boulez's music has been conducted by the composer himself, but here the old master lets a younger generation tackle his music. The result is highly satisfying.

The first piece here chronologically is one of Boulez's most problematic. "Figures-Doubles-Prismes" (1963/1968) was first conceived in 1957. Karlheinz Stockhausen was writing his famous piece "Gruppen" for three orchestras at the time, and Boulez was interested in the unorthodox arrangement of the performing ensemble. Boulez's own approach was to use a single orchestra but to mix its segments up, with brass and wind inside the string section, resulting in exotic combinations of timbre. The result is rather disappointing, with nothing like the glittering colours of his earlier piece "Pli selon pli" or his next one "Eclat", but it does reveal a more confident pacing and powerful sense of motion that was missing from his rather lethargic 1950s works. A clear dramatic arc, however, it does not have. Boulez still hasn't finished the piece in nearly a half-century, and listening to it one can immediately tell that it's still very much a sketch for something else.

The notion of dividing the ensemble up continues with "Rituel" for orchestra in eight groups (1974/75), but here only each group is heard at a time for most of the work, and Boulez calls it "large-scale chamber music". The piece was written in memory of Bruno Maderna, a Darmstadt figure who is nearly forgotten now but who was a close friend and inspiration to many composers who came of age in the 1950s. With its solemn pace and sad, mournful tones, the piece serves as a strong antidote to that usual conservative accusation that serialism "can't communicate anything." This is Boulez's vastest work in terms of percussion, with a large amount of exotic drums, cymbals, bells, wood blocks, and so forth on the stage. Its fifteen sections consist of highly mobile even-numbered intonations, unconducted after Boulez signals their starting points, contrasted with strict conducted responses. Over the course of the work, we move from one orchestral group to another, exploring all of its timbres even though the melodic material is intentionally limited to create a feeling of sorrow. I'm familiar with Boulez's reading of the piece on a Sony disc, and I'm happy to say Robertson conducts the piece just as well.

In the second half of the 1970s Boulez wrote a brief piece for cello ensemble called "Messagesquisse" and announced his attention to expand it into a concerto for orchestra. What he came up with instead starting in 1980 was a tremendous surprise, and ended up being his most frequently-performed set of works: the "Notations" for orchestra. Five so far (I-IV and VII) they are based on twelve Webern-like piano miniatures written in 1945 while Boulez was still a student. The music was tremendously expanded in orchestration, but always retains the original at its heart. One has said of the orchestrations that it was almost as if Boulez looked at the original score with a magnifying glass and discovered more notes. The frenetic "Notations II" was only 30 seconds long in the piano original, but in orchestration was expanded to four times that length, and involves every single player in the orchestra in nearly every single barline. Much of the playing can't be immediately noticed by the audience, but serves to thicken the overall texture and power of the ensemble. Pieces I and VII are the most subtle, where the landscape of the music gradually changes on the surface, but if one listens more deeply, dozens of busy operations are at work like tadpoles in a tranquil stream.

The "Notations" are Boulez at his best, glittering textures, powerful crescendi, exciting glissandi; it's no wonder that many orchestras (such as the CSO) regularly play one or two of them to open their concerts. I was pleased that Robertson conducts them better than Barenboim, who appears on two previous recordings of the pieces. But after hearing a few bootleg recordings of Boulez leading various ensemble, I think that Robertson conducts them even better than the composer himself. Individual elements can be heard here much more clearly, and there's never any sense of muddiness.

The liner notes consist of an interview of Boulez and Robertson by Jean-Pierre Derrien. It's a very friendly introduction to the concepts behind the work and the challenges they pose for a conduction. An analysis, however, it is not, and those interested in the complex organization of "Rituel" would do well to pick up Dominique Jameux's study of Boulez and his music.

If I don't rate this five stars, it's only because my favourite works by Boulez are "Eclat/Multiples" (on a mid-price Sony disc everyone should get), and "Repons", "Sur Incises" and "...explosante-fixe..." (all on DG). Still, the three pieces here are worth hearing, even if "Figures-Doubles-Prismes" still hasn't been resolved.』

(The pupil outshines his master in a superb Rituel)
『In many ways, this is a very well-planned recording, as it features three works by Pierre Boulez, conducted by his American protégé David Robertson with the French orchestra he directed for four years, the Orchestre National de Lyon.

The disc begins with perhaps Boulez's best-known orchestral work, Rituel in memoriam Maderna, written after the death of the Italian composer-conductor who had been a father figure to Boulez and several other post-war modernists. This was the first Boulez work I heard, and it made an immediate impact on me that probably has not been equalled by any of the Boulez that I have heard subsequently: its directness of expression, emotional depth, easily comprehensible form and concentration on melody perhaps make it the most likely of Boulez's works to enter the orchestral repertoire. Over around twenty-five minutes of musical call-and-response, a melody is elaborated against a backdrop of slightly irregular percussion, the melody moving from a single oboe to larger and larger orchestral groups, until after the climax this process is reversed, and the music returns to where it began. This work has been recorded several times before, perhaps most memorably by the composer himself shortly after its composition, but I find this recording outshines both the composer's and the other readings I've heard (Barenboim, Zender). Robertson's gentle pace, tenderly shaped phrasing and eye for detail make this a powerful and emotionally intense experience and remind one that there is more to Boulez than his "iceman" image. (It would be interesting to hear Boulez record this work again--judging by his recent rerecording of Le Marteau sans maitre I suspect that a contemporary Boulez interpretation would be very similar to Robertson's.)

The next five works, from Boulez's orchestral Notations series, have a typically complicated gestation. As a teenage composition student, Boulez had written twelve short piano pieces named Notations, which were lost for many years before being rediscovered. Many years later, he started to expand each of these pieces into larger works for orchestra: I-IV appeared in 1980, VII in 1998, and more are promised (though, typically, much-delayed). The Notations so far completed tend to alternate between two styles: one rather dreamy, detailed, floating slowly between harmonies (I, III and VII) and the other fiercely violent, rhythmic and sharply accented (II and IV). The order of performance of individual pieces is left up to the conductor, though for the first four pieces the order I-IV-III-II seems to have become commonplace: Robertson adds in the more recent VII between I and IV, which makes musical and logical sense, and indeed he is particularly strong in the slower works, his unhurried approach bringing out both their warmth and the considerable detail in the writing. II and IV fare slightly less well: though under Robertson they are vigorous and rhythmic, they cannot match Abbado's earlier live recording (of I-IV) on his Wien Modern disc for sheer virtuosic energy andélan.

The closing work on the disc, Figures-Doubles-Prismes, is less essential Boulez than what has gone before. A sort of concerto for orchestra, it lacks both the sheer beauty of Rituel and the energy of Notations II and IV, though there are many fascinating details in it. Here, Robertson is in competition with the composer's own recording, and his brisk, uncomplicated approach is a contrast to Boulez's rather slower reading. I couldn't really pick a favourite between the two, though perhaps the composer's reading is slightly more characterful.

This disc can be warmly recommended for an outstanding performance of Rituel and for the best complete Notations available: fine performances of works which might well surprise those who have so far not warmed to Boulez's music.』
relatred Items
『 Boulez: Notations; Figures-Doubles-Prismes; Rituel > 『 Boulez: Notations; Figures-Doubles-Prismes; Rituel > 『 Béla Bartók: The Wooden Prince / Cantata Profana - John Aler / John Tomlinson / Chicago Symphony Orchestra&Chorus / Pierre Boulez > 『 Béla Bartók: The Wooden Prince / Cantata Profana - John Aler / John Tomlinson / Chicago Symphony Orchestra&Chorus / Pierre Boulez > 『 Boulez conducts Boulez > 『 Boulez conducts Boulez > 『 Messiaen > 『 Messiaen > 『 Olivier Messiaen: Vingt Regards sur l'Enfant-Jésus > 『 Olivier Messiaen: Vingt Regards sur l'Enfant-Jésus > I wanted to buy It↑

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タイトル『 Poulenc: Sacred&Secular Choral Works > 『 Poulenc: Sacred&Secular Choral Works >


>


 price：$6.00 
 EMI Classics
 
Core2Duoノートレビュー 's review
(I Will Nevertheless Give It Another Go)
『
Needless to say, I haven't given this album enough time. Actually, I haven't given Poulenc or even French music as a whole enough time. The first time I heard these two CDs, I thought I must have the two mixed up as the secular sounds more sacred to my ears whereas the secular is sacred enough! Didn't Tortelier, one of the century's greatest cellists, advised his students to stay away from French music albeit the reason given was the audience like Mozart and Beethoven more? Perhaps I also fall within this category...

There is nothing wrong with the recording it is actually quite nice. But the voices are all quite outstanding from the rest! I have heard some foreigners singing Poulenc quite differently. Perhaps the latter was not exactly a French reading, for I have heard some French Baroque music by Couperin and some French organ music that sound like them. Or, perhaps I have been listening to too much Brahms' chorales lately getting too serious in terms of taste. And in any event, despite my love for Debussy, Ravel, Faure... I don't know what to make out of this album-- at least not as yet. Perhaps I just need to give them some more time: this is a French choir singing their own music after all!
』

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タイトル『 Terminator Collectors Pack W/Figure [VHS] >

>


 price：$20.00 
 
 

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タイトル『 Figure Skating Superstars: Katarina Witt&Friends [VHS] >

>


 price：
 V.I.E.W., Inc.
 

---

タイトル『 Figure Skating Superstars: Brian Boitano&Friends [VHS] >

>


 price：
 V.I.E.W., Inc.
 

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タイトル『 Medieval Legends Dragon Statue&Sword Lights Lamp > 『 Medieval Legends Dragon Statue&Sword Lights Lamp > 『 Fierce Dragon Bookends - Style 37978 > 『 Fierce Dragon Bookends - Style 37978 > 『 ICE DRAGON FIGURINE >


>


 price：$23.53 
 Jed Mart
 
『A dragon wraps his serpentine self around the blade of a "sword", lit from above through the "flames" on the lampshade! Set the mood for mystery and magic! UL Recognized cord. 40 watt bulb (not included). 7" x 6" x 21 1/2" high. Lampshade: 11" diameter x 7" high.』
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『 Medieval Legends Dragon Statue&Sword Lights Lamp > 『 Medieval Legends Dragon Statue&Sword Lights Lamp > 『 Fierce Dragon Bookends - Style 37978 > 『 Fierce Dragon Bookends - Style 37978 > I wanted to buy It↑

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タイトル『 Kaleidoscope Egg Kit >


>


 price：$10.99 
 Woodcraft Supply
 
『Whether youre a collector, a kaleidoscope buff, or you just want to give a unique gift, this easy-to-make Kaleidoscope Egg Kit is exactly what you need. The kaleidoscope components insert into your turned egg. Requires 2" x 2" x 2-1/2" wood blank, pen mandrel, egg bushings and a 13/16" forstner bit. Our egg stand ( Sold Separately) is perfect for displaying your hand made kaleidoscope.』

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タイトル『 Metal Sculpture Man Holding Lit Ball Table Lamp >


>


 price：$260.00 
 Art Max
 
『While technically a lamp, because it lights, obviously this piece more a work of art.』

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タイトル『 Black Snake Moan [HD DVD] > 『 Black Snake Moan [HD DVD] > 『 Prozac Nation > 『 Prozac Nation > 『 Hustle and Flow [HD DVD] > 『 Hustle and Flow [HD DVD] > 『 Black Snake Moan > 『 Black Snake Moan > 『 Zodiac (Two-Disc Director's Cut) [HD DVD] > 『 Zodiac (Two-Disc Director's Cut) [HD DVD] > 『 Powder Blue >


>,Christina Ricci,Samuel L. Jackson,Justin Timberlake,S. Epatha Merkerson,John Cothran Jr.


 price：$5.95 
 Paramount Home Entertainment
 
Core2Duoノートレビュー 's review
(A Very Surprising Movie)
『Neither of us had heard of this movie when it came out but we saw a preview for it on another movie. Given the way it was presented in the preview, I was expecting a cross between the comedic 'Snakes on a Plane' and some kind of titillating s&m thing; I mean Christina in bondage with tight shirt and panties? Yowza. Needless to say, my wife was not at all looking forward to seeing this one.

This movie is nothing like that. First off, Christina is anything but appealing in this movie. She is greasy, beat-up, unwashed, and pathologically promiscuous. You can almost see the stank lines radiating off her. Second, there is nothing sexy about the movie. The sex scene are just plain disturbing and very uncomfortable. As far as comedy goes, there is very little.

What the movie is though, is an emotionally engaging, interesting story acted supremely by everyone involved, with the exception of Justin Timberlake. I mean for a singer, he does a good job; but he is acting with some of the elite talent in the world here so he is very much out of place. The director keeps his bits to a minimum though, so it is not like he ruins the movie or anything.

My wife and I found the characters to be very believable, and we developed feeling and empathy for them. We found the story to be believable and engaging with the ring of truth about it. Which is not surprising, for the director had taken elements from his own life and put them into the characters. Also the ending was really good, it wasn't your typical 'and they lived happily ever after' romcom bs.

In short, this is one of those rare movies that had me caring about the characters and feeling for them, and not feeling let down by the ending.』

(blues)
『When i looked up the words for the lead song Black Snake moan...I was blown away...the music was superb and the story of redemption was moving.

』

(Black Snake Moan)
『There was a time when Lazarus played the blues; a time he got Bojo's Juke Joint shakin' back in the day. Now he lives them. Bitter and broken from a cheating wife and a shattered marriage, Lazarus' soul is lost in spent dreams and betrayal's contempt--until Rae. Half naked and beaten unconscious, Rae is left for dead on the side of the road when Lazarus discovers her. This movie is as interesting as it is intriguing. I enjoyed this movie very much and I highly recommend it to all adults.』

(Sleazy film, but interesting story and GREAT MUSIC!)
『OK, this film is not for prudes--it's pretty sleazy. It's about a young nymphomaniac who ends up in the care of a single black man who has just lost his wife to his brother and is ticked off about it. What happens between them is pretty unusual and is what makes this film unique.

I love Hill Country Blues, the music championed by such luminaries as the late great R.L. Burnside and the North Mississippi Allstars. the NMA contribute to the soundtrack, and most, if not all of the songs sung by Samuel T. Jackson (who does a great job) are R.L. Burnside songs. Just the fact that a filmmaker is honoring the music of the under-heralded R.L. Burnside is enough to deserve a five-star rating. Burnside's sidemen (including his grandson Cedric) appear in the film to accompany Jackson's performances, adding authenticity to the music.

And what the hey, the movie ends overall on a pretty good note, so some of the "dirtiness" you might feel watching this film should disappear by the end!

Living and singing the blues was never all peaches and cream, hence the dark tones in this flick--just makes it all bluesier! RECOMMENDED FILM for all blues fans! Oh, and for all Christina Ricci fans--she's pretty hot in this film! :-)』

(I LIKED THIS FILM)
『BLACK SNAKE MOAN

I remember when this film first came out all I heard about was some big controversy about a black man chaining up a naked white woman. My first thought was who cares I have seen more offensive things on cartoons, I mean come on. So the time went by and I never had the desire to watch this movie, at first. Eventually my brother brought this by and said he had been wanting to see it forever, not because of the stuff sounding the film but because of the great Sam Jackson. I agreed and said if he was in it then it probably would be good, plus I liked the writer/director's last film before this one. So I gave in and sat down to watch the movie and while I never felt offended ever threw out this I was surprised because I had no idea Justin Timberlake was in this.

Rae [Ricci] is a disturbed girl who seems to not be able to overcome a past traumatic event involving sexual abuse and rape. In fact it is so bad that when she goes into her attacks she resorts to the only thing she learned as a little girl, sex with men. So after her man leaves for the military named Ronnie [Timberlake] she immediately goes into these attacks caused by his absence. She goes on to have sex with any and every man that she can when that feeling hits. That all starts to change one night after she is beaten and left for dead by Ronnie's brother later to be found on the road by Lazarus [Jackson].

Lazarus has some problems of his own seeing that his wife has left him for his brother and his blues career is long gone. He is having enough trouble with out Rae when he stumbles upon her, he takes her in and starts to care for her. While in his care she comes in and out of conciseness every time in the middle of one of her episodes. Each time she throws are self at him and continues to do so when she comes out of it, I guess to thank him. It is at this point he sees what is going on and decides to cure her of her sickness, hence the now famous her tied up with a chain scenes. The movie plays out in what really was not all that controversial and actually kinda makes sense in a weird way. Ronnie is coming home and he has problems himself as we learn and Lazarus has a few friends that become involved.

After watching this movie I did not see what the big deal was and can only believe it is because of the way the film was marketed. If the roles were reversed and an old white man had a young sex craved black woman tied up I still don't see any problem as long as the story was the same, but I am sure that would have been just as controversial. I think writer/director Craig Brewer did a good job with this film and took a whole different way than what I was lead to believe this film was. The film was actually a good piece of entertainment which is what films are all about, mostly. The film did have problems like most but over all I enjoyed it, a cool film about very different people helping each other find themselves. Also the shots in this film are excellent with the opening credits as a great example as is the blues music choosen for this, great stuff.

As for performances Samuel L. Jackson as always was good and played the ex blues singer Lazarus well, he seems real dark at times but over the course of his time spent with Rae he becomes who he once was. Christina Ricci just may be the MVP of this production with a wonderfully sick performance. Sick as in the characters problems not a twisted horror movie kinda way, and she even gets topless and has some sex scenes. She goes from a sex crazed victim [love the scene with her mother] to a young woman learning how to deal with her problems. Still I was very surprised at the time I saw this with the performance of singer/actor Justin Timberlake. I have seen him in other things since [each time he has been great] but this was really the first time I can remember seeing him in a role like this. Timberlake impressed me with his performance here and the way he played the character when he returned home only to learn of his wife's affairs is great, turns out he has anxiety problems so he is messed up to. The last scene with Ricci and Timberlake is probably my favorite and he really shines in that scene. John Cothran as well is excellent in this as the preacher friend of Lazarus, Michael Raymond-James is great in this as well.

This is not the best movie ever and some may say it is not the best follow up to his Academy award winning "Hustle&Flow" but I liked it. Sure this film could have used some work but I think most fault lies within the studios marketing of the film. Even the people involved with this film Ricci in particular did not like how it was marketed. If handled correctly and shown for what kind of film it truly is the film would have probably faired better. But hey who am I to say that, I am just a guy behind a keyboard, what do I know?
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『The lurid scenario--a nymphomaniacal white trash nymphet (Christina Ricci) is held prisoner by a bitter bluesman (Samuel L. Jackson)--gives way to an affecting tale of redemption inBlack Snake Moan, writer/director Craig Brewer's follow-up to the acclaimedHustle&Flow. Lazarus (Jackson,Jungle Fever,Pulp Fiction) finds Rae (Ricci,Monster,The Ice Storm) beaten unconscious on the road in front of his backwoods house. After bringing her inside, he learns of her wanton ways and decides to exorcise his own demons by curing Rae of her sexual compulsion.Black Snake Moancould have been terrible, but Brewer takes his story seriously enough to dig into the genuine emotions of such a situation (though along the way he certainly flirts with sexploitation overtones--several scenes look like they were plucked straight out of a hitherto unknown 1970s trash classic). Ricci, Jackson, and the supporting cast (including pop star Justin Timberlake, giving a surprisingly good performance as Rae's boyfriend) treat the characters with respect, honesty, and humor. The result is off-kilter and maybe a little too fond of its sleazy cinematic forbears to truly hit the emotional notes it's after, butBlack Snake Moanhas considerably more substance than its marketing would suggest.--Bret Fetzer

BeyondBlack Snake Moan

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The Soundtrack

More Music Stars on DVD

More DVDs with Samuel L. Jackson

Stills fromBlack Snake Moan(click for larger image)

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『Paramount Black Snake Moan (HD-DVD)
When ex-blues musician Lazarus (Samuel L. Jackson) finds the town nymphomaniac Rae (Christina Ricci) left for dead on the side of the road, he vows to nurse her back to health...and cure her of her wickedness. Until then, she'll be chained to the immovable radiator in his home. But Lazarus has demons of his own: his wife just left him for his own brother. While Lazarus and Rae struggle to fix their broken lives, the situation threatens to explode as Rae's boyfriend Ronnie (Justin Timberlake) - a roughneck soldier just back from Iraq - comes searching for his missing lover.』