A young girl growing up in Bergen, Norway just after the 2nd world war, is trying to deal with the father's adultery and mother's deep depression, as she befriends a boy.

  • Rating:
    4.00 out of 5
  • Length:110 minutes
  • Release:1981
  • Language:Norwegian
  • Reference:Imdb
  • Keywords:city,   girl,   sex,  

A young girl growing up in Bergen, Norway just after the 2nd world war, is trying to deal with the father's adultery and mother's deep depression, as she befriends a boy. This endangers her. . You can read more in Google, Youtube, Wiki


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Paul D (br) wrote: The animation is looking very dated, but I guess at the same time it keeps faith with the television series for kids that began in the 80's.

Nikki D (it) wrote: Cool plot, horrible movie. Even worse ending. Both the fake end and the twist were predictable. Anyone into these types of thriller horror movies can spot this right off the bat. If done correctly, this film could have been pretty decent. It's a shame that's not a reality.

Edmund P (us) wrote: I wish I could recommend this. There is some genuinely cool stuff in here: good action, some nice animation, and a damn good orchestral score with some well-used choir insertions throughout. I also enjoyed a lot of the dubbed voice acting, though a little bit of it was kind of lackluster. Unfortunately, the characters are fairly one-dimensional (especially the lead protagonist Hitomi) and the story, while promising at first, is extremely anticlimactic and convenient by the end. It's okay, but I probably will just go watch the series its based on as opposed to ever watching this again.

Alexander C (br) wrote: Standard film, mediocre, nothing further, worth one watch or two.

Harry W (es) wrote: On a neverending quest to understand the mind of John Waters, Polyester sounded like a good chance to get one step closer.With nothing in disguise, Polyester immediately clarifies to viewers its existence as being a satirical look at suburban life. With the main character being a mother attempting to structure her family like a 1950's sitcom in a society rampant with youth violencem, pornography and crude language as social norms. By comparing the contemporary timeframe to the facade of a 50's one, John Waters forced viewers to confront how times have changed with a relentless passion for dark comedy. The style and tone of the film is so brilliantly executed that the viewer can easily fail to recognize the fact that it is a very low-budget production with little in terms of narrative, and so as a result it is truly one of John Waters' finest films.Polyester is a brilliant combination between over-the-top drama and dark comedy. The story is a melodrama full of comedic characters, and with John Waters' tenacious passion for the material he is easily able to let the material push the limits. Though the story is confined to a small set of locations and the overall resolution quality is not the most high-definition, Polyester's screenplay and direction is so intelligent that it gets around it well. The story never really goes anywhere, but that's because it keeps coming back to the same plot point of Francine Fishpaw's endless suffering at the hands of a destructive family. The importance rests on the different ways that John Waters writes this into the screenplay, and the consistent variations between plot twists and sight gags ensures a versatile range of jokes to fuel the dark comedy of the screenplay. The dark comedy is so shocking and unexpected that it still has the power to hold up today, and there is no telling precisely which gags will hit viewers with surprise or laughter since its all a matter of discovering how deep the rabbit hole of John Waters' sick and twisted mind goes.Essentially, Polyester is a very gimmicky film. However, it doesn't mean that all of them completely work out. Though the film is a satire on the "Women's Pictures" of the 1950's and 60's, that genre is little-known today and so its satirical edge is difficult to recognize outside of people who lived through the era or studied it. And as well as that, the "Aromascope" gimmick that came with the film is obviously more difficult to come by these days unless viewers have managed to get their hands on a special version of the home media release. Luckily enough these do not stand in the way of the film's narrative from naturally working, but it's clear that it takes a cult audience to appreciate the full extent of Polyester in its complete glory. Still, that's the case with most John Waters films so there is no sense in complaining all that much about it all. Frankly, of all the niche-driven John Waters films, Polyester carries his distinctive style without being too esoteric and has an organic sense of humour which can appeal to a wider audience.And embracing the odd tone of the film to maximum extent, the cast of Polyester help to ensure there is no shortcomings in terms of acting.Divine's melodramatic lead charms are absolutely brilliant. Treating the entire film like a soap opera, Divine stands out amid a cast of campy actors by taking a "woe is me" approach to every single situation in the film. Divine is so deeply lost in the role that it becomes all too natural, leaving it easy for viewers to forget that the main character is actually a drag queen in real life. Francine Fishpaw is an interesting character as she is the kind that viewers can feel sorry for, but also laugh at. Divine's repetitive nature is so delightfully over the top that it actually never wears thin, but rather proves to bring consistent dark humour into Polyester. Divine is a constant source of melodrama in Polyester, and her endless descent into self-pity is a key source of the film's drama and a lot of its comedy.David Samson is also a strong fit. Capturing a twisted satire on the typical suburban husband, David Samson pumps his character full of the antagonistic archetype of an unappreciative husband. Capturing a gritty edge to him, David Samson takes an approach where he mimics the hard-edged masculinity of male characters from countless classic films and then diverts it into a campy self-obsession. This works to create an intense sense of chemistry between him and Divine where the two just play off each other with contrasting personas, clearly establishing the exact kind of relationship shared between them in no time. David Samson balances a hard edge with campy line delivery very well in Polyester.Mary Garlington is also very over the top in her campy nature. Capturing the free-spirited partygirl nature of Lu-Lu Fishpaw, Mary Garlinton so obsessed with maximizing her physical energy that she never seems to stop moving. She keeps dancing her way through everything even though the jukebox is never playing and she says all her lines with such an airhead nature to her that she comes off as a hilariously cheesy character. The little-known Mary Garlington brings organic energy to Polyester and works to ensure that she transcends the intentional repetition of Lu-Lu Fishpaw's consistently cheesy dance moves.Ken King manages to capture a strongly introverted persona and make a convincing comic transition to a different attitude later into the story, and both Edith Massey and Joni Ruth White manage to join the ensemble in capturing the twisted character creations of John Waters with vibrant humourous energy.So Polyester makes up for its simplistic plot with a brilliant satirical edge and a tone which effectively works John Waters' distinctive style of dark comedy into a fashion which is twisted and yet hilarious while also managing to get the best efforts out of Divine.

Eric H (ca) wrote: "Arabesque" is one of those 60's films that mixes political intrigue with tongue-in-check humor that benefits from a stellar cast, featuring Oscar winners Gregory Peck and Sophia Loren. Peck plays a college professor whose talents in deciphering hieroglyphics is needed by an Arabian businessman (Alan Badel) with sinister motives for his homeland.Loren plays Badel's "kept woman" but is hiding her involvement in her benefactor's doings. Her character uses her womanly wiles to encourage Peck's stiff-as-nails professor to "loosen up" somewhat and decode the cipher.Both Peck and Loren play off each other well, equally balancing sexual tension with distrust. Badel exhibits the characteristics of the perfect 60's villain: smooth, devious, and cunning. He would fit perfectly in a Bond film, ranking up there with Blofeld or Goldfinger in the dastardly department.Praise can also be given to Maurice Binder, who contributed the Bond-like opening credits, along with Oscar-winning composer Henry Mancini who composed a thrilling yet playful score.

Eileen M (kr) wrote: This is a fun pre-Code; see it to delight in the raciness of American movies prior to 1934. I gave it an extra half-star for the absurdity of the "Black Voodoo" cabaret number. Wow.

Kyle M (au) wrote: A story about an incredibly brave and strong woman treated unbelievably unfairly by those in power -- she is an admirable journalist who demonstrates principled integrity, and the film shows the cost of keeping those principles in the face of tyranny. A story worth telling. Very great performance by Kate Beckinsale.

Ruby D (it) wrote: So shit it was unreal

Ethan P (gb) wrote: The Lorax is a fun movie to watch. It has the crazy chases and creativity of the older Disney films and it also has an important message, but it gets lost somewhere in the mix. It is a perfectly OK movie that could've been a powerful, memorable movie.

007 W (us) wrote: Transformers 4 was painful, but I'll give it this the action was alright, the CGI for the transformers was impressive still, but that's it everything else is shit

David D (mx) wrote: A dumb and pointless story, awful screenplay, bad acting, a pretty bad directing make this less than worth watching. Fans of camp and of bad movies may find it more enjoyable than I did. The scenery in the graveyard is a rather impressive gothic setting; for fans of classic art direction that alone may be worth watching part of this film.