hyped garbage

Fantastic!

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Director James Ivory's worst film, an absurd allegory which hopes to juxtapose the different (and yet oh-so-similar) worlds of a primitive culture of half-naked forest savages and a decadent group of sexually-ambiguous high society turnips of the 1920s. The screenplay by George Swift Trow and (of all people) Michael O'Donoghue, from Ivory's story, gives us stock characterizations without any personalities of interest, and the amateurish look of the film--part "Cold Comfort Farm", part D.W. Griffith--is confounding and ridiculous. Social satire needs more than just 'uncommon' common ground, it needs spirit and a dash of wit. Ivory clumps through this menagerie with very little grace or humor, however he is helped by Joe Raposo's (suitably) bizarre music. A curio, nothing more. * from ****

Based upon release dates, I was provided with this version as opposed to the 2007 film of the similar name. Keeping an open-mind, I watched patiently.People will celebrate its oddness of colliding civilizations and languages while also mentioning the threads of overlap in poor behavior in both the 'mudpeople' and the merely dressed better actors - this is not enough to make a good film. To fixate on the eccentricities without considering the cohesive whole does anyone considering spending time with this film a disservice. To start, instead of developing the divide between words and actions, the plot moves forward without leaving the viewer with any motif. Stylistically, not providing moments of quiet with the camera to draw out the characters' inner thoughts makes this picture forgettable. Utterly two-dimensional, I pity Sam Watterson's involvement.There is humor unintentionally created by death and the indifference by the other characters. Amusement is highlighted at the end. The people's hysterical and manic attraction to merge with the jungle once more is laughable. Who knew croquet was so powerful?

Was it de Tocqueville who wrote that America passed from barbarism to decadence with no civilization in between? If so, then he (or whoever else) deserves at least partial screen credit for Savages. A bizarre and blackly comic fable, this is Merchant-Ivory's most atypical film. It was also, probably, their biggest flop. Yet fans of the duo will find much recognise and admire. Non-fans may enjoy it even more!Savages opens in dazzling sepia-toned black-and-white. A tribe of primitive forest-dwellers called the 'Mud People' find a mystical round orb that's fallen from an alien world. (In other words, a croquet ball.) They trace its path to an elegantly dilapidated Colonial-style mansion. As they explore the house, the prehistoric intruders start to play dress-up. Soon enough, the screen shifts into colour. The 'savages' transform into the denizens of a grandly decadent 1920s house party...Chief among them are a formidable Auntie Mame-style hostess (Anne Francine), a toothy and spirited debutante (Susan Blakely), an elegantly faded 'fallen woman' (Salome Jens) and an exotic, eyelash-fluttering vamp (legendary Andy Warhol icon Ultra Violet). As usual in a Merchant-Ivory film, the women's roles are stronger than the men's. But a young Sam Waterston is on hand, rehearsing his 'detached and disenchanted observer' role for The Great Gatsby.While that later film is little more than a parade of gorgeous costumes and opulent sets, Savages is considerably more. Ivory's eye for social nuance and period detail is as sharp here as in later masterworks like Quartet, Heat and Dust and A Room with a View. Yes, it may perhaps be possible to dismiss Ivory as a bland director - but only if you dismiss Jean Rhys, E.M. Forster or Henry James as bland authors. Or is it a crime to be a discreet and faithful adaptor of other people's work?Savages is one of the rare films based on Ivory's own imagination. And what a perverse and mordant imagination it turns out to be! What little 'civilisation' the 'savages' acquire in the guise of Jazz Age socialites is, of course, a flimsy and feeble veneer. We can't be surprised when they revert to full-fledged barbarism. In fact, the honesty of that primal state comes as something of a relief.Savages is impeccably acted, smoothly directed, wittily written, richly designed - and photographed with jaw-dropping splendor by Walter Lassally! It may be something of an aberration in the Merchant-Ivory canon. It is also, possibly, their best film.

The primitive tribal mud people are startled by a croquet ball that emerges from an unexplored region of their forest. The set out to find the origin of this alien sphere, and happen upon a lavish(and abandoned)estate. Bewildered by this strange place and all the things within it, they quickly "evolve", assuming the roles of bourgeois aristocrats. They do, however, retain many of their ritualistic customs and sexual behaviors, and, in one of the film's more inclement moments, respond to death with a discomposed, uneasy silence. These scenes might lead the viewer to query just how far removed people really are from their autochthon ancestry. SAVAGES is about as surreal and strange as movies come, but not at all lacking in depth, substance, or humor(chiefly in a subtly saturnine, cynical vein). Certainly not suited to all tastes, but strongly recommended to those with a slant toward wry absurdist cinema.7.5/10