User reviews

Watching Meryl Streep in 2011's The Iron Lady and in 1985s Out of Africa gave me two different results. While in both of them, Meryl gave her best shot, the director's approach towards the actress is very different. In Out of Africa, Meryl's character Karen is a hardworking, independent, strong-willed young baroness/plantation worker later author, while in The Iron Lady, she oscillates between an eighty year old dementia-suffering Thatcher and a middle-aged Thatcher, both authoritative.

While I do understand Phyllida's attempt to have Meryl foreshadow others to show Thatcher's dominance, the movie itself became a one-woman show that barely gave a s*** about the supporting cast. While in Out of Africa, Pollock never resorts to showy camera work to highlight Meryl. The camera moves through the picturesque Africa and the beautiful Meryl so naturally as if the cameraman was lost in the beauty of the entire place. While Meryl is a marvel, Pollock himself is a wise man who gave the picture an independent existence. The Iron Lady will always remain Meryl's Iron Lady.

Based on a true story, Out of Africa shows Karen Blixen's life as she adjusts to the African lifestyle while romancing Denys (Redford) and divorcing Bror (Klaus). The opening itself talks of the farm at the foot of the Ngong Hills and is voiced by Streep in a very distinctive accent. Many of her performances, especially the ones where she uses accents, are slightly difficult to accept first but shine later, even though she does sound like Sly Stallone at times, especially when she says in one scene "I want you to COME HOME". Karen marries Bror to retain her title of baroness and moves to Africa. Bror uses her money against her wishes and doesn't take care of her properly. Karen meets Denys and another guy, and invites them to her home. Both the guys are attracted to her but things go awry for one. Denys and Karen fall in love but Denys lives a very different life, independent like Karen but in a nomadic way. Karen runs the entire farm, opens up a school and acquaints and adjusts herself with the Africans.

Pollack has handled the movie tactfully, and the film is enriched by fine performances. The green verdant lands of Africa with the pastoral huts of the Africans on one hand and the lavishness of the Britishers on the other can be seen. There is this lovely scene where the tribe chief tells Karen that only tall children will go to school. When Karen tells him that sending kids would be very wise of him, the African replies that the Britishers have learned to read, but it has not helped them in any way. Still, the farmers hold respect for Karen's caring nature.

Clocking at 2 hours and 40 minutes, Out of Africa is like a landscape of a beautiful bird on its mighty flight over the flowing rivers and the dense forests. My Rating: 8 out of 10

Fifty years ago I was living in the Kenya highlands, only a few miles from the old Blixen farm. Not a great deal had changed since the 1920s, the period of the movie, which manages a reasonable re-creation. However, the background is unlikely to mean much to Americans, only confirming unreal stereotypes of the colonial British. Meryl Steep, as we have come to expect, is superb in the part; and in 2003 she co-narrated a wonderful documentary on the remarkable Karen Blixen (Isak Dinesen), to whom in fact she bears some physical resemblance. Robert Redford is badly miscast, and why the producers didn't get one of many superb English actors for the part I can't imagine. As a love story well told in what to most people will be an exotic setting, beautifully photographed, it should be highly rated, justifying its many awards.

This really is a beautiful movie. The cinematography is outstanding. The Kenyan landscape is truly majestic. It's no wonder why the Forerunners chose Voi as their location for the portal to the Ark (Halo 3 reference ;)).

Robert Redford was the MAN in this, as I'm sure he is in real life. His free spirit that he simply would not yield was commendable. I don't know how he wasn't even nominated for an Academy Award that year. Streep was very good too, and well deserving of her award.

At 2 hours and 41 minutes it felt a little long. I did not watch it through one sitting, and I think it would have been difficult had I done so.

Karen Blixen left Africa knowing exactly how special of a place it was. From the people to the animals and the land itself, there's nothing quite like it. I just hope we as the human race can preserve this precious place, and not the opposite.

What a memorable gem of a movie!! I thought this film deserved every one of its seven Academy Awards it got. After viewing this film again I'm just stupefied why didn't Meryl Streep win Best Actress in this movie. The role of Karen Blixen was very complex and she performed it beautifully. This is probably right up there with "Sophie's Choice" and "Kramer vs. Kramer" both Award winning performances for her and this is right there with "Bridges of Madison County" and "A Cry in the Dark".

Syndey Pollock hit the nail right on the head with this classic beautiful cinematography. The acting is excellent by Streep, Redford, and Klaus Maria Brandeur. I liked the scene when Karen (Streep) wants her servant to address her by her name and he said "You are Karen, Sabu". I also loved the owl that she had in her room - it was a small one, but it was so cute and I loved it.

If you have a chance to rent this movie, please do - it is a classic. I love the beginning line "I had a farm in Africa" it was so moving!!

It's hard to describe this film. On one hand, it's long and slow; on the other, it's an absorbing story with fantastic acting and breathtaking scenery.

Meryl Streep stars as Karen Blixen, a Danish woman, who marries Bror Blixen and becomes a Baroness. The couple move to Africa in 1913 and start a coffee plantation.

Blixen cheats on her and is away often for business, while she stays at home working the plantation. Ultimately he gives her VD.

She falls in love with Denys Finch-Hatton (Robert Redford). The relationship is frustrating for her -- Denys does not want a commitment, he wanted freedom. When she returns to her native country, she writes about her experience as Isak Dinesen.

The film shows a lot of interesting history: the class consciousness, for one, as Karen was looked down on because of her humble beginnings. Also, it shows Europeans trying to impose their culture on a foreign people.

It definitely portrays how the different tribes saw the Europeans, basically as people who did not belong there.

It also shows the simplicity of the natives, and how their knowledge of their own country was superior. All of this is before World War II and very interesting.

Interestingly, Sikh Indians are brought to the English Gentlemen's club to act as servants and when Karen dares to enter the men's only den, it's the Sikh who is responsible for escorting her out; none of the English "gentlemen" have the balls or nerve to do it. An interesting observation on the English White man's view of the world before World War I.

Many of the lesser characters were real people. Kumante was apparently consulted by the filmmakers. Felicity is based on aviatrix Beryl Markham.

The cast includes Klaus Maria Brandauer, Michael Kitchen, Michael Gough, and Rachel Kempson, all wonderful actors.

Meryl Streep does a beautiful job as Karen/Isak. Robert Redford is miscast as Denys, who is supposed to be a British aristocrat. If he speaks with an American accent, he can't be a British aristocrat. Apparently Redford used an accent but Sydney Pollack made him overdub his lines; he thought they would distract the audience.

I think he should have been encouraged to work on and use the accent so his portrayal could have closer to the real man. As it is, he comes off as miscast -- and American. He also doesn't register as well as he could, given his looks and charm.

The scenery in this film is the true star. So many of us don't have a strong picture of Africa; this film displays its great beauty.

Interestingly, the story of Isak Dinesen was considered for Greta Garbo, and Audrey Hepburn was offered the role before Streep.

My favorite movie of all time, hands down. I watched it for the first time in the theatre. As it ended, the audience sat motionless and quiet for several beats, then burst into loud applause as the ending credits rolled. I'm not always so prophetic, but I was incredibly moved. I said to my husband, "We've just seen the Academy Award winner." If I had no other basis for recommendation, I would say the breathtaking cinematography and transporting musical score would make a viewing worthwhile (case in point: the main theme playing as Denys Finch Hatton gives Karen Blixen her first airplane ride, and we what she sees, as God must have seen it). But these are merely the window dressings.

There are two movie cuts floating around, which I tried to pursue through Universal, and then Disney. Forget it. Suffice to say there is a theatrical version and a Disney TV version, with little consequential difference to the plot except that the latter edits out a little of Karen's physical lovemaking with Denys and slightly expands her intellectual relationship with Farah; which to some degree helped buttress the development of his absolute devotion to her.

The screenplay resembles Isaak Dinesen's semi-autobiographical book very little; even so, she did not tell the whole truth in her book. You'll have to get over it, except that I think the character development suffered the loss of Blixen's deep involvement with the displaced Kikuyu tribe working her coffee plantation. Also, without an understanding of the historical times, it would be too easy to say simplistically that this is a woman trying to live within the terms of a marriage of convenience and then compensating with pursuit of a doomed passion.

What was crafted out of a mishmash of a more-or-less factual account and director Sydney Pollack's vision is still a beautiful love and adventure story in the midst of British colonial rule and an earlier, more racially and sexually biased era.

Klaus Maria Brandauer as Baron Bror von Blixen (whew! - who called Karen "Tannen," adding to my initial confusion) perfectly portrays that fun man you like immensely but could never really trust with anything important like your feelings. He along with several of the key male figures and symbols in this movie will eventually bow in respect to the "man" Karen Blixen becomes despite his often shabby treatment and other travails, because she rises above it all and perseveres. Redford plays mostly Redford. His Finch Hatton's sense of independence is fragile and illusory and will ultimately cost him dearly.

There are a couple of continuity problems that bother me to this day, including the disappearing-reappearing champagne and the continually retracking parade marchers, but for the most part few expenses or attentions to detail were spared, especially in the lavish costuming. "Bare-breasted native women" will unfortunately also make their National Geographic appearance.

Even so, Out of Africa is a treasure with a half dozen or more perfect and unforgettable scenes; a movie as long as this review, but I hope you'll agree, worth your patience.

Meryl Streep conquers another accent and another role with her eyes closed. She personifies the strong willed Danish woman of Dineson's stories. As well rounded and as good as I have ever seen him is Robert Redford as the free spirited Denys Finch Hatton. Strong too is Klaus Maria Brandauer as Baron Von Blixen, the wayward husband, while Malick Bowens is a delight as Mrs Blixen's native 'man'.

To round the film off you add astute editing, glorious cinematography and John Barry's best ever musical score, and you have a marvellous picture. Director Sydney Pollack pulls it all together with a charm and style that seems effortless.

Definitely a movie you should try and see at the cinema of you get the chance. It may, for some, outstay its welcome a little, but epics are want to do this. Many viewers will rather wish it was not finishing so soon.

What makes a good film? It's funny I lent my DVD of this to a mate recently and although she didn't hate it she didn't get it either. Which surprised me because, to me, there has never been any doubt in my mind about the beauty and quality of this film. Anyway I was surfing IMDb and decided to look at this page. There is (or was) a thread on the discussion board about whether this was a good or bad film, I clicked on it. I have never (in my modest surfing of this site) seen such a big thread. Surely a film that evokes that much passion (the majority of which was positive and defencive) has achieved something.

I'm not saying that Out of Africa is the best film I've ever seen (I've yet to see that one!) but I think I can safely say that it has secured a place for itself both in cinematic history and the future of entertainment. You see at it heart it is a well made, timeless epic.

Yes there will always be the people who take exception to the accents, dislike the ending or believes it drags on for too long, but that's their lost, I can't help thinking they haven't been patient enough (and this annoys me).

You see the thing is in many ways the endless beauty of this film lies in its subtleties. Yes you have Meryl Streep and Redford flanked by the scenery and music, but for me it's the things like Pollock's direction, Michael Kitchen's performance and Karen's interaction with member's of the tribe that make the film.

Part of me wants to tie my mate to a chair and make her sit and watch this until she gets it. The other half is slightly relieved, because I feel that with her rejection this film is ever so slightly more exclusively mine, and I know that although I'm still only young I will always have time a space for it!

OUT OF AFRICA is based on the memoirs of Danish writer Karen Blixen (pen name, Isak Dinesen) in a coffee plantation in present day Kenya. It explains how this brave woman overcomes the stereotype of a dainty, colonial British lady by running the coffee farm while her husband Bror Blixen (Brandauer) led a life of hunting and infidelities. Meryl Streep is great as Karen Blixen. She manages to maintain the realistic Danish accent through the whole film. Redford is great as Denys Finch-Hatton, the Etonian hunter who keeps companion in her loneliest and hardest. But the real attraction of the film is he outstanding photography of the African landscape together with the sweeping John Barry soundtrack that is probably the most beautiful movie soundtrack of the 1980s. OUT OF AFRICA will be regarded as Sydney Pollack's asterpiece and a Classic of our times.

Everything in this movie is beautiful. Too beautiful to ignore the fact that the narrative is told from the white imperialist perspective. Africa and Africans are romanticized into the background of the protagonist's love story. However, it is not difficult to pin point the hidden imperialist agenda. Karen Blixen-Finecke represents a sympathetic missionary-style imperialist who eagerly tries to enlighten her African labor through Western education. Denys Finch Hatton is a pretentious environmentalist imperialist, who, on the one hand, tries to preserve the primitive Africanese in Africa (his criticism of Karen's project of building schools), on the other hand, exploits Africa for its economic resources. His two goals are not contradictory: in order to continue exploiting Africa, it has to remain primitive, both its people and its land. African people have no voice of their own in this movie. They are portrayed through the eyes of Karen and Denys. Their ultimate otherness provides an exotic catalyst for the romantic love story to develop. In turn, the innocuous story line of love helps justify the very disturbing and dark side of Western imperialism.

This film is a masterpiece in all aspects. Of course, it's not for those looking for action or a fast-paced plot -- this film allows you to meet and get to know the characters with their virtues and foibles. The cinematography is incredible and John Barry's score is matchless; one of the very few scores which would diminish a film if absent. Meryl Streep was robbed of the Oscar; her meticulous German/Danish accent was first-rate. If I had to name the weakest attribute of the film, it's the casting of Robert Redford as Denys. He did a fine job, and it was understandable that he was cast in that role, due to his bankability, but in reality, Denys was not American. Redford is a bit too all-American for this role, but it's a minor detraction. This film is my next purchase on DVD -- I've seen it dozens of times and I never tire of it.

This movie should not have won the Oscar for Best Picture. The fact that it did was either because it was a very bad year for movies (in which case, I don't think an award should be given for this category) or the academy, once again, voted for a bloated MEGA-picture despite it being sterile (there are MANY worse examples of this--think of The English Patient or The Last Emporer).

While I don't think it was even close to Oscar material, I also think a few reviews on this site are too harsh as well. Giving this picture a "1"? Nope. This isn't fair, as the music and photography were great. I loved the African singing and the scene of the biplane flying over the flock of flamingos in incredible.

So, the final verdict: dull and unlikeable characters, a script that reads like fiction (not the real life story), unconvincing dialog BUT a treat for the eyes and ears. So my advice is to turn off your brain and enjoy--particularly on the big screen.

‘Out of Africa' is a film that struggles to impress. It is loosely based on the memoirs of Danish aristocrat Karen Dinesen (Meryl Streep), whose failed social endeavors at home drove her to a platonic marriage to a Baron (Klaus Maria Brandauer) and to an eighteen-year exile in colonial Kenya. The wide skies of Africa enlarged Dinesen's horizons, allowing her to explore the limits of her endurance through business venturing, friendship, and ultimately romance with wildlife hunter Denys Finch Hatton (Robert Redford).

The components of cinematic success are all there: erotic triangles, colonial Africa, exotic natives, even war, illness and bereavement. Paradoxically, after the first twenty minutes something goes terribly wrong, causing this over-ambitious film to evaporate into plain meaninglessness. The source of this unfortunate debacle is to be found in the substandard screenplay, which tends to revolve endlessly around itself, while stubbornly refusing to lift the story and the characters off the ground. Fine recitals by Streep (featuring a superb Nordic accent), and Michael Kitchen (as Berkeley) are not dynamic enough to conceal the film's fatal contradictions: Dinesen is a feminist spirit whose self-confidence is dependent on the men in her life; colonized Kenya is a sanitized paradise where ‘noble savages' know their place; and where white colonialists are well-meaning philanthropists with imperfections that have hardly any impact outside of their narrow ‘bwana' circle.

In conclusion, do not allow yourself to be deceived by the film's Academy Award credentials. This is mediocre cinema -the kind which pleases the eye, but is all empty calories. 4.7 stars out of 10.

I had heard of this film quite alot but had never seen it. Today I did and was amazed. It is based on the life of a danish female author who moves to Africa. Meryl Streep is exellent as the lead role and keeps a believable danish accent all the way through the film. Robert Redford is also excellent as. But of course the best feature of this film is the beautiful African scnery. It captivates the viewer and I think even if the acting was poor the scenery would still make you like the film. I cannot think of any other film I have seen that has matched this one. I recommened it to anyone. This truly is a touching, marvellous film

A story that is difficult to translate into a film without being episodic and a little bit direction-less. How many fireside scenes, meaningful pauses and plaintive longing gazes do we need to sit through to get the romantic undertows? Lots of subtlety in the script and visual symbolism inadequately matched by Robert Redford's neutral performance giving the impression of a huge American film-star doing it by numbers, conspicuously super-imposed onto an otherwise convincing depiction of colonial Kenyan culture in the early twentieth century. Director Sydney Pollack believed Redford gave the historic character he was portraying an unobtainable quality that couldn't be offered by any high-profile British actor at the time of filming (1984). Once the British acting fraternity recovered from the shock of being so unfairly patronized, they might, if given the chance, have cried out, "Haven't you heard of Pierce Brosnan?" Indeed, Brosnan's age in the early 1980's would have been much closer than Redford's to that of the historic character being portrayed. In fairness to Redford, he was apparently prepared to equip his character, an English gentleman, with a suitably Etonian accent. Pollack allegedly felt however than an English accent from Redford would distract the film's viewers. Hmmm. Yes, Mr Pollack. An Englishman with an American accent is so much less distracting and so much more believable. It's Meryl Streep who does the lion's share (no pun intended) of the heavy-lifting with able support from Michael Kitchen and others. Lots of beautiful photography and sweeping themes from veteran composer, John Barry. As a keen photographer once said to me however, "Why is good photography allowed to be an excuse for a bad movie?" I don't agree it's a bad movie but I do believe less is more and that the film needs a lot of tidying up with a tauter narrative. The truth is, I find it a curiously interesting albeit flawed film and wouldn't be surprised if I find myself enjoying it more upon repeat viewings.

There is some marvelous symbolism in this film and the screenplay by Kurt Luedtke touches on much of it, but the enhanced DVD contains commentary by Isak Dinisen's biographer, Judith Thurman, as well as comments by director Sydney Pollack that provide additional insights into the characters that we don't necessarily see on screen. However, this doesn't detract from this immensely well-crafted film, so rich in texture and scope, that it accomplishes what all good movies do; it removes us from our world for the amount of time it's on the screen and immerses us in the milieu it creates. This films, not only because of the craftsmanship, for which John Barry also deserves exceptional recognition for a masterful music score, stands head and shoulders above the other blockbuster "woman against the elements" contemporary films of the time, such as 'Heat and Dust' and was obvious inspiration for other such hi-dollar period romances to follow like, "The English Patient" and "The End of the Affair". What makes this film really shine, however, is Streep's performance as Dinesen, at once both likable and empathetic due to her complete mastery of the art of screen acting, in which again, we forget we're watching a performance. Klaus Maria Brandauer is also excellent as the philandering Baron Blix...and Redford is Redford, perhaps, as some have suggested, a tad mis-cast, but still commanding and ultimately plausible as the conscious big-game hunter/conservationist, that he too is impossible to dislike. All in all, a film that truly enriches the overall experience of American cinema.

Pollack does an excellent job but there is a lot of patching and fiddling with facts. He has to work within the limitations of the format and running time, but he does make the very best of it. I would like to see a remake in the format of a well-financed five-part miniseries that truly delves into both the Dinesen book and into Shadows on the Grass. I wish that they had hired an Englishman to play Finch Haton. Redford was great, but he wasn't much like the real person. Also, the film doesn't touch on Blixen's aristocratic nature, or how she served as an adjudicator of disputes alongside Kinyanjui, and you don't get a feel for the geography of the farm itself or its location in relation to the fantastic views that were available, such as going up the Ng'ongs and peering down into the beginnings of the Great Rift Valley, or looking in the other direction and seeing the Athi Plain, and then looking east and seeing the entirety of the farm below. As for the relationship between Blixen and Finch Haton, and that between his and his other lady friends, this was very different from the reality. Having lived there during the filming, and only three minutes from Karen's house, this reviewer may feel somewhat possessive about his fellow expat and her real story, Setting all that aside, it is a very good movie. It tells a good tale and the actors turn in fine performances.

Released in 1985 and directed by Sydney Pollack based on Karen Blixen's autobiographical novel, "Out of Africa" chronicles life in colonial Kenya during World War I where a Danish baroness establishes a coffee plantation with her husband-of-convenience, Bror (Klaus Maria Brandauer), and develops a relationship with a free-spirited big-game hunter, Denys (Robert Redford).

For some reason it's become fashionable to look-down on "Out of Africa" but, viewing it recently, it's obvious why it won Best Picture at the AA. This is a historical drama/romance with elements of adventure that just brims with confidence. Watching it, you're swept back in time to WWI-era Kenya. The writing and acting are thoroughly convincing. Take, for instance, the parting moment Karen has with Farah (Malick Bowens) at the end; it's low-key but dramatically potent. Sure, there are some slow parts, but that's the nature of the beast. If you want cartoony jungle action, like "Predator," "Out of Africa" won't work; but if you want realistic historical drama akin to "Lawrence of Arabia" (1962) and "Nowhere in Africa" (2001), "Out of Africa" expertly fills the bill.

The film runs 161 minutes and was shot in Kenya (e.g. Shaba National Game Reserve) and England (e.g Castle Rising, Norfolk).

GRADE: B+

This was a film that when it came out for some unknown reason I never saw. Over the years it has passed me by many, many times either in people's conversations or midnight wanderings with the remote but always I let it go by. Maybe it was the fact that it won such acclaim and attention and was talked about so much that I thought I knew the film, that I didn't need to see it. There was always another film to see. Well obviously my 'mistake' was rectified as I wouldn't be writing this now. I came home to find my girlfriend watching the very beginning, proceeded to read the day's newspaper but had one eye on the screen. She had seen it a few times and later on tiring went to bed. I'm not sure why this time was different but I continued to watch. Thank god I did. This is a magnificent, intelligent, moving film that on this night of 6th August 2007 means so much more to me than had I seen it in 1985. Of course now I realize why I've been so averse although unconsciously of seeing it. Going through a bloody divorce then not of my own choosing I don't think could have handled as Meryl so brilliantly did the strength that her character had with love and all it's attachment. This is human film that really seeps into your soul and I'm full of admiration for Sidney Pollack's brilliance and for putting together a team of people both in front and behind the camera that have created such a gem. All the Actors were superb with Meryl setting the pace like a long distance runner wanting to cross the line with everyone winning! This is a film with a strong heart!

This is an overlong film derived from Isak Dinesen's memoirs of running a coffee plantation in Kenya in the early years of the twentieth century. The book is a different kettle of fish altogether, but I won't go into that. Sydney Pollock does a fine job of directing here, but in a way the movie is almost overproduced. There was, it seems, so much time and money to play with that the film drags an awful lot. Kurt Luedtke's script is laconic in the Hemingway manner, and very smart, though some of the ultra-sophisticated one-liners began to irritate me after a while. Pollock has a fine dramatic instinct and I wish that there was more drama in this film for him to lavish his talent on. The location shooting is superb, and the depiction of home and village life in colonial Africa is nicely done. I find the romance between Dinesen (called by her real name, Baroness Karen Blixen) and aviator-adventurer Denis Finch-Hatton, less than compelling, partly because, as the latter, Robert Redford refuses to use a British accent, which gives the movie a Hollywood feel, not a bad thing in itself, but the film was made in Africa, with a mostly British cast, and Meryl Streep as Blixen uses an impeccable Danish accent, which makes Redford seem like a fish out of water. This is bothersome because in many ways Redford is well cast in the role, thus his American diction seems like sheer willfulness on his part, which it probably was. Streep is fine in her role, and is especially good in her grand dame moments, as lady of the manor.

There are some worthwhile incidental pleasures in this film. John Barry's fine score is perfect for the material, and really soars near the end, appropriately I imagine since one of the two main characters is an aviator. In supporting roles, Klaus Maria Brandauer, Michael Kitchen, Suzanna Hamilton and Michael Gough work small wonders. The use of Mozart, while true to life, makes this post-Amadeus film seem already like a period piece; the period being the 1980's. Mozart was all the rage in those days. His great music is, however, non- if not anti-emotional, and it's odd that it was used so often in the movie. The effect of the music is somewhat intimidating in the context of the romance at the center of the film, as it doesn't suit at all what's happening on screen, which can't help but make the viewer think that perhaps he's missing something; or maybe the film is just too smart for him. This is, again, a very eighties sort of feeling, of the sort of one gets from watching Chariots Of Fire, or listening to the music David Byrne and Laurie Anderson.

The movie starts off really good. And the actors continue on that high rhythm they have going on. There is not that many surprises going on relationship-wise between them, so the tension is build by them acting so good. The problem being, that the movie takes its time. And when I say takes its time, I mean it takes a very long time ... very very long time to get to the end.

The story does not offer that much substance for the running time. And the points are being made clear long before the scenes are over. Still it opts not to crank up the speed. While the human relationships are the ones that keep the movie together (with the superb acting), I couldn't help but feel that the movie could have been cut to tighter running time, without anyone really missing too much