I like the storyline of this show,it attract me so much

terrible... so disappointed.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

You might not get the title of the movie until the very last frame is shown. And it is not because of the frame, that you will know, what it means, but because the voice over tells you. If you have a problem with voice over, then I guess this movie will have a very hard time convincing you, how good it is.On the other hand, if you don't mind someone telling you a story (which is exactly what the voice over is being used for in this movie), then you will enjoy this tale of a family with their own house and their neighbor and some guests. One guest in particular who will stir things up quite a bit. It's easy to dismiss the movie, because nothing much seems to happen. If you are looking for a movie that is action packed, or a movie that might have more details of the community people live in, this isn't the movie you are looking for.A nice build up and really good movie, with magnificent Technicolor pictures. :o)

In Jean Renoir's introduction to this film the great master cites Rumer Godden's book The River as the greatest work of literature about English colonialism in India. I can think of at least two books that are greater, E.M. Forster's A Passage to India, and George Orwell's Burmese Days, two works of literature which seem to indicate that Britain's endeavors in India produced more harm than a few damaged human relations among the English.Never the less, Jean Renoir brings unbelievable beauty to this film, which was his first attempt at full Technicolor, and it's a glorious attempt, called the most beautiful color film (along with Powell and Pressburger's The Red Shoes) by Martin Scorsese.The color has a warm subtlety and grace which can only be described as characteristic as his father's paintings, cheap as that sounds.Is The River the Rules of the Game of Renoir's color period, as Andre Bazin claims? No, I'm afraid no movie is as good as The Rules of the Game, yet this is a wonderful and important work all the same.

The River is, understandably, very high on top of film-buffs' lists of favorite Jean Renoir films. It's also a picture that needs a little patience on some more modern viewers' parts- it's more meditative than it looks at first, and despite the narration from adult Harriet (taken, I would guess, verbatim from Rumer Godden's original semi-autobiographic novel) coming off every now and again as slightly padded to certain moments that should be without a word spoke, it takes the nature of the environment, the locations, the people, the culture, the spirituality, all at a simple subjective viewpoint. Which, in a way, makes it more powerful than it would be had it been put through some kind of filter of a native. Renoir knows that he's a foreigner, and that Godden was as well, so that it's at times almost anthropological in the side glances at the Indian life along the river. Through this perspective, and in the framework of a 'coming-of-age' story, is a warm, mostly innocent film of love and life.It would be one thing to try and deconstruct the performances- it would take too long than is allotted on this site. Suffice to say Renoir does much with a cast that have either acted mostly in character-acting parts, or (in the case of real life one-legged Captain John played by Thomas Breen) not much at all. Even from an actress like Patricia Walters, who under a less careful attention to detail would seem as spoiled, or petty and intolerable, as a Veruca Salt, in Harriet there's a tenderness there when she has her heart broken over and over again as she watched John fall into the arms of Valerie. I especially liked how she stayed true to that sense of bewilderment, disillusionment that has to come at that age when concerning the passing of life (the tragic death of her younger brother, the truest innocent in the film), and what it means to really love and love back. She might still seem all frustrated and confused in that final scene in the boat with John, but it works nonetheless at the emotional side. Other actors like Suprova Mukerjee (her only significant performance in a film) and Radha, with her sad eyes, also contribute heavily. Only Nora Swinburne feels like a 'conventional' English matriarchal presence, though not as a 'bad' thing to the story.What should likely be discussed more than anything are the visuals, the look, the style, the carefully ritualistic world that the people along the river contribute and take away from and how they're depicted. Renoir, as has been written, didn't want to put any of the usual Hollywood stereotypes of tigers and elephants and such in the picture- his reverence also contributes to the meditative quality, how there's at times documentary qualities to how the narration goes over the movements of the river scenes. And maybe the most daring scene being the unbroken take of the dance in Harriet's story, where the woman has to be in-line with the camera-work (as Scorsese, major fan of the film, noted on the DVD, there's no dolly for Renoir), and never misses a step to the exquisite beat of the music. Any other director might go in for the close-up, or go back to a long-shot for a master, but here it's like a scene in Singin in the Rain: we're privy to every step, as the length of the shot becomes part of the dance, of (not to sound pretentious) the communication of it. I don't even listen to much Indian music or watch the dances, but it's spellbinding in the case of the River.And, along with The Wizard of Oz, some of Powell and Pressburger's late 40s work, and Johnny Guitar, it's one of the most superb Technicolor films of the period. As many a modern viewer will not take into account (I wouldn't of had I not gone to an art museum lately), Renoir is the son of one of the great painters (forget impressionist, just in general), and it's to this that one can see pitch, brightness, the depth and scope of a palette used to its fullest. It could be argued that The River isn't a masterpiece in terms of the story or characters, but I'd hate to be with the one who'd argue about how the color doesn't work or doesn't sit well. Aside from the painterly compositions, it's just a very pleasant film to look at, and it would be for this reason I would seek it out if it plays on a revival screen in New York City or other. 9.5/10

I saw this film a long time ago and I really loved it. I'm very interested in buying a DVD version of the film suitable for being watched in Europe, but the only versions I can find on the Internet are for Region 1 (United States). I would be very recognized if someone could help me and tell me if there's any version available for Region 2 (Europe). I'm sure there are a large number of people in Europe who would be interested in buying a DVD version of it. Thank you very much for your help. As for the film itself I really appreciate the slow rhythm of the film, similar to that of the water of the river passing by. It creates a very intense, touching, atmosphere.