20 reviews
It is a truism that Victor Sjostrom's films dramatise the conflict between nature and society, but his treatment is less simplistic than might be first apparent. For instance, society in 'The Outlaw and his Wife' is ruled by a brutal, land-grabbing Bailiff who whips servants for losing a sheep; but it is also a place rich in pageantry, costume and rite, where communities can express themselves.
Similarly, nature might be a site of freedom for social outsiders, a sustaining idyll for lovers, and an awe-inspiring backdrop, but it also overflows in the lonely vagrant who comes close to rape, or the cliff and snows that can kill.
Throughout Sjostrom shifts impressively between registers - nature as both real presence and symbolic backdrop; plot as both social depiction and spiritual journey - while retaining familiar action pleasures.
Similarly, nature might be a site of freedom for social outsiders, a sustaining idyll for lovers, and an awe-inspiring backdrop, but it also overflows in the lonely vagrant who comes close to rape, or the cliff and snows that can kill.
Throughout Sjostrom shifts impressively between registers - nature as both real presence and symbolic backdrop; plot as both social depiction and spiritual journey - while retaining familiar action pleasures.
- the red duchess
- May 21, 2001
- Permalink
It's hard to imagine, but only a few years before this film debuted, most films were only a few minutes long. And, full-length films really were a pretty new thing. So, to see a long, complex and cinematic film like "You and I" shows just how far the industry had grown. Victor Sjöström plays a man who is on the run from the law. Years earlier, he'd been sent to prison for stealing a sheep to feed his family and he'd eventually broken out of a tiny make-shift prison in Iceland. The film picks up when he's on the run in the interior of the country--looking for work and hoping no one recognizes him. In the process, a woman takes him in to work on her farm and eventually the two fall in love....at about the time the law shows up to claim him. The two run off together and live in the inhospitable wilds for the next 17 years (yikes). Exactly what happens is something you'll just need to see for yourself--but it does have some nice surprises.
The film is well worth seeing mostly for the nice acting and cinematography. Interestingly, in addition to starring in the film, Sjöström directed and co-wrote this film--and the look of the film can clearly be attributed to him. I also appreciate how he was able to recreate the look of Iceland nicely by apparently filming in the middle of no where AND in pretty inhospitable weather. A very good film--and it has some nice things to say about crime and punishment.
The film is well worth seeing mostly for the nice acting and cinematography. Interestingly, in addition to starring in the film, Sjöström directed and co-wrote this film--and the look of the film can clearly be attributed to him. I also appreciate how he was able to recreate the look of Iceland nicely by apparently filming in the middle of no where AND in pretty inhospitable weather. A very good film--and it has some nice things to say about crime and punishment.
- planktonrules
- May 23, 2011
- Permalink
This film was Victor Sjöströms international break-through and it's not hard to understand why. It wasn't the first time Sjöström had used the wild and unpredictable nature as an illustrator or commentator, but this time the scenery and the acting was in the same level of quality. A wonderful piece of art.
I have waited for years to see this film and finally caught it on Youtube - in excellent condition. It was definitely worth the wait! The film was made in 1918, a time when most cinema consisted of small segments of celluloid patched together with the standard melodramatic or comedic situations, clumsily filmed indoors on make-shift sets. This is absolutely nothing of the kind although it took Hollywood what seemed an eternity to figure out that a movie could, indeed, be shot out in the open with great success. Several reviewers have mentioned some sort of connection with early Westerns made by directors of little artistic talent and less scope. Actually, this film has nothing whatsoever to deal with standard plots with famous actors. The plot is extremely simple, as it should be in this case, and all - virtually all - of the over-the-board overacting and the theatrical motions and over-emotions suppressed, with natural gestures replacing them in natural settings...and what beautiful settings they are! No, there aren't any tied-together happy ends around and little to titillate the audience, villains with mustaches or any of the standard American clichés here. The film is Scandinavian, filmed and acted by Scandinavians, shot in North Sweden far, far away from the ole corral. I don't know how well the director, Victor Sjostrom, was acquainted with American cinema at the time - there wasn't really much of anything of much value going except from Griffith and one or two others, but the film borrows nothing and invents everything for its own uses. The cinema up there created a universe of its own, albeit a harsh one. Bergman would follow fifty years later. This was a welcome hour or so spent in the company of people who made some astoundingly good films and this is certainly one of them.
Curtis Stotlar
Curtis Stotlar
- cstotlar-1
- Aug 26, 2014
- Permalink
- Cineanalyst
- May 16, 2005
- Permalink
The stunning Lappland scenery and seeing Victor Sjöström made this one enjoyable for me, despite a little creakiness in the early going. The setup, actually told in a flashback, reminded me of Les Miserables in that a man (Sjöström) turns to theft out of poverty, but instead of the local parson forgiving him as in that work, he jails him instead. Perhaps there is commentary on the church in this, and the need to show a little kindness to the less fortunate, since everything that happens to this decent guy stems from that incident. Anyway, he breaks out of jail, finds work on a farm, and falls in love with the owner (Edith Erastoff), but his past is never far behind.
The film gets good and the drama increases when the pair flee to the mountains, where they live a rugged life and have a baby girl. There are several moments at a cliff that are quite tense, and one that seems hard to fathom (I mean, really hard to fathom). Maybe the film shows us what desperation will drive people to, aside from the theft - jealousy, turning on one another, and acts you'd never think possible. Set against the grand scenery of those timeless mountains and waterfalls though, the human struggle seems especially small, even when it is gripping.
The pace is quite good at 73 minutes - intertitles are kept to a minimum, and the story, while simple, moves along nicely. At times it feels like the psychological drama is as claustrophobic as the wilderness is wide open. The film is obviously a bit stiff to modern eyes, but it seems clear that for 1918, it was ahead of its time.
The film gets good and the drama increases when the pair flee to the mountains, where they live a rugged life and have a baby girl. There are several moments at a cliff that are quite tense, and one that seems hard to fathom (I mean, really hard to fathom). Maybe the film shows us what desperation will drive people to, aside from the theft - jealousy, turning on one another, and acts you'd never think possible. Set against the grand scenery of those timeless mountains and waterfalls though, the human struggle seems especially small, even when it is gripping.
The pace is quite good at 73 minutes - intertitles are kept to a minimum, and the story, while simple, moves along nicely. At times it feels like the psychological drama is as claustrophobic as the wilderness is wide open. The film is obviously a bit stiff to modern eyes, but it seems clear that for 1918, it was ahead of its time.
- gbill-74877
- Jan 29, 2020
- Permalink
Berg-Ejvind Och Hans Hustru / The Outlaw and His Wife (1918) :
Brief Review -
A tragic love story of an Icelandic outlaw with a groundbreaking filming process. The first thing you should know about The Outlaw and His Wife is that it's a groundbreaking film when it comes to cinematography and the shooting process. It was groundbreaking for its portrayal of wild nature, as it was shot in two sessions in the spring and late summer. We modern audiences and critics talk about Richard Linklater's "Boyhood" (2014) for its long filming process that took 12 years or something, but how many of us ever discuss old treasures like this? We should, and I am doing my part today. Victor Sjöström's silent romantic tragedy has everything that makes for a good watch. The storyline is exactly what any romantic melodrama will have. It has emotion and that love factor working as the USPs throughout the narrative. At one point, I thought it was trying to be philosophical, but then everything went as planned, and believe me, I was hoping it would behave like a film made 104 years ago. A stranger comes to work at widow Halla's farm. She falls in love and he shares her feelings, but their happiness is cut short by God or destiny, whatever you call it, as his haunting past strikes with new challenges. Halla learns about Eyvind's past and yet decides to follow him for life. What challenges she had to face in the marriage and how they both tackled them is all that you get to see in The Outlaw and His Wife. Victor Sjöström's film seems like an extremely expressionist film, as Victor Sjöström and Edith Erastoff both give such exorbitant expressions. Also, we can't forget the fact that the cinema of 1918 was like this, even if it was changing rapidly in the West. Nevertheless, the greatest Swedish director of its time makes sure that your time is worth spending on something. Love story and love tragedy lovers should definitely see this to know the true meaning of love.
RATING - 7/10*
By - #samthebestest.
A tragic love story of an Icelandic outlaw with a groundbreaking filming process. The first thing you should know about The Outlaw and His Wife is that it's a groundbreaking film when it comes to cinematography and the shooting process. It was groundbreaking for its portrayal of wild nature, as it was shot in two sessions in the spring and late summer. We modern audiences and critics talk about Richard Linklater's "Boyhood" (2014) for its long filming process that took 12 years or something, but how many of us ever discuss old treasures like this? We should, and I am doing my part today. Victor Sjöström's silent romantic tragedy has everything that makes for a good watch. The storyline is exactly what any romantic melodrama will have. It has emotion and that love factor working as the USPs throughout the narrative. At one point, I thought it was trying to be philosophical, but then everything went as planned, and believe me, I was hoping it would behave like a film made 104 years ago. A stranger comes to work at widow Halla's farm. She falls in love and he shares her feelings, but their happiness is cut short by God or destiny, whatever you call it, as his haunting past strikes with new challenges. Halla learns about Eyvind's past and yet decides to follow him for life. What challenges she had to face in the marriage and how they both tackled them is all that you get to see in The Outlaw and His Wife. Victor Sjöström's film seems like an extremely expressionist film, as Victor Sjöström and Edith Erastoff both give such exorbitant expressions. Also, we can't forget the fact that the cinema of 1918 was like this, even if it was changing rapidly in the West. Nevertheless, the greatest Swedish director of its time makes sure that your time is worth spending on something. Love story and love tragedy lovers should definitely see this to know the true meaning of love.
RATING - 7/10*
By - #samthebestest.
- SAMTHEBESTEST
- Aug 2, 2022
- Permalink
- monolith94
- Apr 9, 2015
- Permalink
- tadpole-596-918256
- May 1, 2022
- Permalink
Natural surroundings heighten a movie director's ability to examine his characters' identities. The first film in cinema to introduce soaring landscapes and weather elements for the purpose of exploring the actors' interior personalities is Swedish director Victor Sjostrom's January 1918 "The Outlaw and His Wife."
Based on the true story of a mid-1700 criminal escaping incarceration with his wife into the mountains of Iceland, "The Outlaw and His Wife" uses the stunning scenery of northern Sweden to reflect nature's impact on human behavior, especially displayed in the second half of the movie.
Sjostrom and Edith Erastoff appeared in the director's earlier "The Man There Was," and began a relationship despite Erastoff marriage status. In fact, Edith was pregnant with Sjostrom's child when filming "The Outlaw and His Wife." She delivered a girl, Guje Lagerwall, who lived to be 100, soon after the January premier. Sjostrom and Erastoff eventually married in 1922 after she secured a divorce from her first husband.
Sjostrom worked well with cinematographer Julius Jaenzon, who lends a surreal tone to this highly visual film. He uses the sun frequently to backlight the actors, and often overexposes the film to portray them in a fairytale-like glow. Jaenzon also silhouettes his on-camera personalities against huge backdrops to emphasize how puny people and their problems are in relation to the overall scheme of God's great work in presenting earth's majesty.
Besides man's co-existing with a sometimes turbulent nature, Sjostrom shows the psychological mechanics within a human relationship, especially reflected memorably in the sequence where Erastoff throws the couple's baby over the cliff. Such stress in hiding from the law in an unforgiving environment casts a light on the breaking point of the human condition in such circumstances.
Today's directors such as Terrance Malick, known for his photographic expertise, studied "The Outlaw and His Wife" for its natural elements incorporated into their characters' behavior and plot motivations. Sjostrom's film played a huge influence on later visually-stunning motion pictures using nature's varied landscapes.
Based on the true story of a mid-1700 criminal escaping incarceration with his wife into the mountains of Iceland, "The Outlaw and His Wife" uses the stunning scenery of northern Sweden to reflect nature's impact on human behavior, especially displayed in the second half of the movie.
Sjostrom and Edith Erastoff appeared in the director's earlier "The Man There Was," and began a relationship despite Erastoff marriage status. In fact, Edith was pregnant with Sjostrom's child when filming "The Outlaw and His Wife." She delivered a girl, Guje Lagerwall, who lived to be 100, soon after the January premier. Sjostrom and Erastoff eventually married in 1922 after she secured a divorce from her first husband.
Sjostrom worked well with cinematographer Julius Jaenzon, who lends a surreal tone to this highly visual film. He uses the sun frequently to backlight the actors, and often overexposes the film to portray them in a fairytale-like glow. Jaenzon also silhouettes his on-camera personalities against huge backdrops to emphasize how puny people and their problems are in relation to the overall scheme of God's great work in presenting earth's majesty.
Besides man's co-existing with a sometimes turbulent nature, Sjostrom shows the psychological mechanics within a human relationship, especially reflected memorably in the sequence where Erastoff throws the couple's baby over the cliff. Such stress in hiding from the law in an unforgiving environment casts a light on the breaking point of the human condition in such circumstances.
Today's directors such as Terrance Malick, known for his photographic expertise, studied "The Outlaw and His Wife" for its natural elements incorporated into their characters' behavior and plot motivations. Sjostrom's film played a huge influence on later visually-stunning motion pictures using nature's varied landscapes.
- springfieldrental
- Aug 8, 2021
- Permalink
(1918) The Outlaw and His Wife/ Berg-Ejvind och hans hustru
SILENT DRAMA
Co-written, directed and starring Victor Sjöström, he plays an unknown drifter, Kari (Victor Sjöström) looking for work and ends up working at a farm, owned by Halla (Edith Erastoff). And as they begin to fall in love, it is then his past begins to catch up with him that his name is not Kari, but is really Eyvind suspected of escaping from prison. Adapted from the play "Eyvind of the Hills" by Jóhann Sigurjónsson.
A silent Swedish film that is reminiscent of a serious love story that has a complicated situation, that can be used as a basis for movies that come after it.
Co-written, directed and starring Victor Sjöström, he plays an unknown drifter, Kari (Victor Sjöström) looking for work and ends up working at a farm, owned by Halla (Edith Erastoff). And as they begin to fall in love, it is then his past begins to catch up with him that his name is not Kari, but is really Eyvind suspected of escaping from prison. Adapted from the play "Eyvind of the Hills" by Jóhann Sigurjónsson.
A silent Swedish film that is reminiscent of a serious love story that has a complicated situation, that can be used as a basis for movies that come after it.
- jordondave-28085
- Apr 16, 2023
- Permalink
The Outlaw and His Wife (1918) directed by Victor Sjöström is yet another impressive production in early cinema history.
The story revolves around a stranger who comes to work at a widow's (Halla's) farm. Halla and the stranger fall in love, but when he is revealed as Eyvind, an escaped thief forced into crime by his family's starvation, they flee and become two of the many outlaws of Iceland's mountains.
Victor Sjöström's early films are impressive in their own right. In The Outlaw and his Wife, he almost uses nature as a character, pressuring the humans of the film to the very brink of - and beyond - their moral values. This works effectively in driving a more abstract point of the film; what is one willing to do in order to ensure one's own safety and survival, and yet further abstract; what is good and evil as philosophical constructs?
It is similarly highly recommended for film buffs and those interested in cinema history just like Sjöström's earlier film Terje Vigen (1917), although The Outlaw and his Wife is not as contemporary as Terje Vigen. Lacking a score and being twice as long, it does not feel as focused although it definitely is more epic in its scale and production.
The story revolves around a stranger who comes to work at a widow's (Halla's) farm. Halla and the stranger fall in love, but when he is revealed as Eyvind, an escaped thief forced into crime by his family's starvation, they flee and become two of the many outlaws of Iceland's mountains.
Victor Sjöström's early films are impressive in their own right. In The Outlaw and his Wife, he almost uses nature as a character, pressuring the humans of the film to the very brink of - and beyond - their moral values. This works effectively in driving a more abstract point of the film; what is one willing to do in order to ensure one's own safety and survival, and yet further abstract; what is good and evil as philosophical constructs?
It is similarly highly recommended for film buffs and those interested in cinema history just like Sjöström's earlier film Terje Vigen (1917), although The Outlaw and his Wife is not as contemporary as Terje Vigen. Lacking a score and being twice as long, it does not feel as focused although it definitely is more epic in its scale and production.
On my continued journey through silent film from the early 20th century, this is my favorrite one yet. I found the changing colors much less distracting, and at points even felt like the colors added to the tone of the scene. I particularly enjoyed the costumes in this film, and found the plot much easier to follow than other films of this category. I enjoyed seeing a strong female character, unlike in 'A Man There Was'. There are both laughs and cries throughout this film, and the ending I thought was beautiful. The title cards consisted of more dialogue than I'd seen in previous films, which helped to make the plot more understandable.
- elodienoyes
- Sep 26, 2023
- Permalink
It always astounds how much variety there can be within a category that from the outside seems small and limited. Of all the many films made in the silent era, many of which have been sadly lost to the ravages of time or flame, there are distinct stylistic differences discernible in all matters of storytelling and film-making. In this title I recognize some facets that seem to bridge a divide: acting that lies somewhere in the middle between the exaggerated body language and facial expressions that followed from live theater, and the more natural, subtle comportment that became increasingly predominant heading into the sound era and beyond; sequencing, editing broadly, and scene writing that falls somewhere on the spectrum between the most rigid, stilted connecting of dots that characterized many early titles, with discrete divisions from beat to beat, and the more organic, smoothly flowing progression of events that better fostered and sustained suspension of disbelief. And so on, and so on. Having once said so of myself, I can understand why some folks have difficulty abiding the silent era, and this is perhaps unlikely to change any minds despite the forward steps it took in the medium. Still, for those who appreciate what early cinema has to offer, 'The outlaw and his wife' is a terrific surviving picture that well deserves remembrance and recognition.
In addition to the major questions of style, it's worth observing that the feature bears a story that is ultimately rather simple and straightforward. This is hardly a fault in and of itself, though hand in hand with that, there are times when the pacing seems to lag a bit, as though there isn't quite enough drama or accompanying weight in the beat to justify how some moments may linger or take their time to fully develop. Yet as with anything one may raise here as a matter to possibly reduce the total possible audience, these are not nearly so critical an issue as to severely detract from the viewing experience. On the contrary - while the feature bides its time to go where it wants to, it gathers strength as it progresses. And though this is an instance of a film that does feel as long as it is (just shy of two hours), it's well done all the while, and at length earns its enduring acclaim. There is, truly, much to admire in 'The outlaw and his wife,' from Julius Jaenzon's vivid, mindful cinematography to the magnificently, peerlessly beautiful landscapes (the latter mostly reserved for the second half). The production design is splendid, and filmmaker Victor Sjöström illustrates wonderfully smart, sharp direction to bring the tale together, not least as he emphatically makes use of the surrounding wilderness to weave the very land itself into the narrative, as though it were another character. To that point, some instances of his shot composition are especially keen.
While it doesn't seem as significant at the outset, it's safe to say that the acting is also gratifyingly strong throughout, not least from Sjöström himself, starring in the lead, and chief co-star Edith Erastoff. Once more, the performances seem to me to split the difference between those approaches that are, respectively, less and more nuanced, and certainly Sjöström and Erastoff do a fine job of commanding one's attention, especially in the second half where they are more pointedly centered. On that note, utmost commendations to the makeup artists whose contributions are increasingly important and noteworthy as the course of events draws on. And of course none of this would be possible without robust writing to propel the feature. As 'The outlaw and his wife' rolls into its second half the instances of lesser drama or lagging pace are easily forgotten, a thing of the past - and even if they weren't, the scene writing is stark and drearily vibrant all the while, conveying powerful images that are realized so deftly through Jaenzon's lens and Sjöström's vision. The characters carry concrete personality and complexity that are most welcome, and at its best even the dialogue is fiercely intelligent, suggesting commanding prose that is a treasure unto itself. Factor all this into a rich, deeply compelling narrative, one rife with themes of religious hypocrisy, the haughty cruelty of wealth, unjust laws and societies, the jealousies and darkness that hardship can bring to the surface, and above all the places that love can take us, and the end result is fabulously satisfying and rewarding as a viewer.
It bears repeating that for all the strength the picture carries, this is one that quite decidedly takes its time, allowing the saga to manifest, breathe, and resolve of its own accord. Sometimes that approach isn't always to the movie's advantage, for that matter, especially as it initially works to lay the groundwork for the plot to come. For those who are willing and able to stick with the production, however, and take everything exactly as and when it wants us to, the wait is very much worth it. When all is said and done there's no part of this that isn't tremendously well done, a real treat for any cinephile, and it's no wonder why it's been held in such regard for so many years. Patience is required on top of love for the silent era - but so long as the notion of such a deliberately paced film is no obstacle, 'The outlaw and his wife' remains highly, heartily recommended, a terrific piece that continues to stand tall more than one hundred years later. This is a classic that is well worth seeking out!
In addition to the major questions of style, it's worth observing that the feature bears a story that is ultimately rather simple and straightforward. This is hardly a fault in and of itself, though hand in hand with that, there are times when the pacing seems to lag a bit, as though there isn't quite enough drama or accompanying weight in the beat to justify how some moments may linger or take their time to fully develop. Yet as with anything one may raise here as a matter to possibly reduce the total possible audience, these are not nearly so critical an issue as to severely detract from the viewing experience. On the contrary - while the feature bides its time to go where it wants to, it gathers strength as it progresses. And though this is an instance of a film that does feel as long as it is (just shy of two hours), it's well done all the while, and at length earns its enduring acclaim. There is, truly, much to admire in 'The outlaw and his wife,' from Julius Jaenzon's vivid, mindful cinematography to the magnificently, peerlessly beautiful landscapes (the latter mostly reserved for the second half). The production design is splendid, and filmmaker Victor Sjöström illustrates wonderfully smart, sharp direction to bring the tale together, not least as he emphatically makes use of the surrounding wilderness to weave the very land itself into the narrative, as though it were another character. To that point, some instances of his shot composition are especially keen.
While it doesn't seem as significant at the outset, it's safe to say that the acting is also gratifyingly strong throughout, not least from Sjöström himself, starring in the lead, and chief co-star Edith Erastoff. Once more, the performances seem to me to split the difference between those approaches that are, respectively, less and more nuanced, and certainly Sjöström and Erastoff do a fine job of commanding one's attention, especially in the second half where they are more pointedly centered. On that note, utmost commendations to the makeup artists whose contributions are increasingly important and noteworthy as the course of events draws on. And of course none of this would be possible without robust writing to propel the feature. As 'The outlaw and his wife' rolls into its second half the instances of lesser drama or lagging pace are easily forgotten, a thing of the past - and even if they weren't, the scene writing is stark and drearily vibrant all the while, conveying powerful images that are realized so deftly through Jaenzon's lens and Sjöström's vision. The characters carry concrete personality and complexity that are most welcome, and at its best even the dialogue is fiercely intelligent, suggesting commanding prose that is a treasure unto itself. Factor all this into a rich, deeply compelling narrative, one rife with themes of religious hypocrisy, the haughty cruelty of wealth, unjust laws and societies, the jealousies and darkness that hardship can bring to the surface, and above all the places that love can take us, and the end result is fabulously satisfying and rewarding as a viewer.
It bears repeating that for all the strength the picture carries, this is one that quite decidedly takes its time, allowing the saga to manifest, breathe, and resolve of its own accord. Sometimes that approach isn't always to the movie's advantage, for that matter, especially as it initially works to lay the groundwork for the plot to come. For those who are willing and able to stick with the production, however, and take everything exactly as and when it wants us to, the wait is very much worth it. When all is said and done there's no part of this that isn't tremendously well done, a real treat for any cinephile, and it's no wonder why it's been held in such regard for so many years. Patience is required on top of love for the silent era - but so long as the notion of such a deliberately paced film is no obstacle, 'The outlaw and his wife' remains highly, heartily recommended, a terrific piece that continues to stand tall more than one hundred years later. This is a classic that is well worth seeking out!
- I_Ailurophile
- Feb 14, 2023
- Permalink
Most silent films, damaged by the course of the time, exist in different versions with different running times, but when a DVD is released, is supposed to be in the most complete version existing (for instance, the Flicker Alley DVD of "La roue").
Well, this is not the case with the Kino "The outlaw and his wife". This is a very truncated version and shouldn't have been released in such conditions. Its running time is only 70 minutes, when nowadays exists a 105 min. version that I have seen in the Madrid Filmoteca and in the TV french channel Arte four or five years ago. Or is it a matter of wrong speed, 24 i.p.s instead of 16 i.p.s.?
The truncated Kino DVD version is, I suppose, the existing in the Kino shelves and released many years ago in VHS. That's very bad. (and the price of the DVD is 27 $ !).
Well, this is not the case with the Kino "The outlaw and his wife". This is a very truncated version and shouldn't have been released in such conditions. Its running time is only 70 minutes, when nowadays exists a 105 min. version that I have seen in the Madrid Filmoteca and in the TV french channel Arte four or five years ago. Or is it a matter of wrong speed, 24 i.p.s instead of 16 i.p.s.?
The truncated Kino DVD version is, I suppose, the existing in the Kino shelves and released many years ago in VHS. That's very bad. (and the price of the DVD is 27 $ !).
- ArtVandelayImporterExporter
- Jul 2, 2017
- Permalink
- TheCapsuleCritic
- Jun 29, 2024
- Permalink