Liebestraum (1991)

This Movie Can Only Be Described With One Word.

Horrible, fascist and poorly acted

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

It really made me laugh, but for some moments I was tearing up because I could relate so much.

If you go into "Liebestraum" expecting to see a conventional, tight thriller, you're outta luck: you'll find it too long and slow. But if you surrender yourself to its unique mood, you may find it thoroughly entrancing - like I did. To use the famous Alfred Hitchcock quote, Mike Figgis, the writer-director (who also did the hypnotic music score), plays the audience like a piano. Even the plot, which seems secondary and overall predictable much of the time (especially if you've seen the same year's "Dead Again"), turns out to have some real surprises in store. Every piece of the puzzle eventually falls into place. A remarkably underrated and under-appreciated movie. ***1/2 out of 4.

Based on some recommendations, I bought this film and made sure to get the director's cut because everyone says there is necessary info in it.But skip this one and go straight to Kenneth Branagh and Emma Thompson in Dead Again if you want an overall better movie.This plot was okay, but highly predictable in almost all respects EXCEPT I'll stipulate that there was at least one really gross moment (involves a tongue), one really freaky/scary moment (involves a wheelchair), and I didn't guess correctly who was the killer. Which elevates it above a lot of movies.I still liked Dead Again better. Pamela Gidley was okay, but I couldn't get past her being the robot in Cherry 2000, the hero was okay but I think he is that same guy with Julia Roberts in Sleeping With the Enemy (kind of the poor movie's Brad Pitt) and the usually reliable Bill Pullman was kinda wasted here.P.S. Okay, I'm going to go in-depth a bit here about why the hospital wheelchair scene was so freaky to me. This movie is about something very intense that happened in the past working itself out again in the present through mostly reincarnated people. However, some of the people in the present were alive when the original events happened and have a stake in seeing that the past remains covered up or perhaps still feel tremendous jealousy/rage etc. at the reincarnated characters although they don't know why.The Store manager in the past was reincarnated as Nick (the store manager was in fact Nick's biological father and his soul apparently still felt a tremendous pull towards his pregnant wife even though (or perhaps because) they had a problematic relationship of infidelity and intense jealous rage) and the Blonde Rich woman was reincarnated as Jane. Ah, but some of you may disagree because the blonde woman didn't die in the past, she only became completely brain dead in the higher functions although able to live with constant care and no need for a respirator due to no damage to her brain stem where the autonomic bodily funtions reside (breathing, regulation of heart rate, blood pressure etc.)And that is why I found the scene where the brain dead blonde woman is in close proximity with Jane so disturbing. If her soul left her when her consciousness died (although her body lived on) and was reincarnated as Jane, then you have a soul-less brain dead body violently reacting involuntarily due to being near the soul it once had. I found that just freaky as all get out and something I had never seen in a reincarnation type movie before or since.

Mike Figgis wrote and directed this woefully pretentious claptrap about a young writer (Kevin Anderson, in a wholly uncompelling performance) who becomes obsessed with a landmark building about to be torn down. That impossible title refers to a piece of music which was playing in the building the night a mysterious crime took place (it was a crime of passion, yet there's no passion in the leading character, and nothing for the viewer to become involved in). Figgis gets amusingly flashy with this scenario, but it's certainly no threat to "Vertigo"--even with Kim Novak cast in a completely thankless role of a bed-ridden hospital patient. Empty all the way. * from ****

This is a film that is thought provoking to say the least. It is romantic and also a little tastily sleazy. If you liked dead again, you should like this film. This film, however, is much better. What I don't understand is why this film is so unknown and underrated.Mystery, intrigue, romance, regret, desire, jealousy, greed, it is all here. History unfolds to give the viewer a tapestry of cinematic beauty. Some of the film shots are in the vein of Dario Argento's Suspiria while the story and plot are much more caring and romantic.I would say that this film is a mixture of David Lynch, Roman Polanski and Wim Wenders rolled up into one hidden classic.