Viki maragaki biography for kids
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Phony accents, revisionist history mar 'Mandolin'
CAPTAIN CORELLI'S MANDOLIN —** — Nicolas Cage, Penelope Cruz, John Hurt, Christian Bale, David Morrissey, Irene Papas, Piero Maggio, Viki Maragaki, Joanna-Daria Adraktas; rated R (violence, gore, nudity, profanity, brief sex); see the "On the Screen" on Page W2 for complete listings of local theaters.
If you overlook the revisionist version of history it presents, the hilariously inept attempts to portray realistic accents and a lack of romantic chemistry between the two leads, "Captain Corelli's Mandolin" isn't a bad little movie.
But it's not really a good one either. This superficial World War II-era romance (based on Louis de Bernieres' best-selling novel) is a textbook example of how a seemingly "can't-miss" prospect can go horribly awry, even with a first-rate cast and crew.
The only thing that saves the film from being a complete disaster is director John Madden ('s Oscar-winning "Shakespeare in Love"), who is determined to play it out with as much cheeky humor as possible.
(Even that was something of a squabble. The studios allegedly were very involved with the production and were displeased with Madden's work, even forcing him to reshoot the
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Captain Corelli's Mandolin (film)
coat by Privy Madden
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Plot
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Captain Corelli's Mandolin
The previews for “Captain Corelli’s Mandolin” make is appear quite attractive. History enriched with a great love story. But it, unfortunately, does not succeed in all that… it doesn’t even make you feel uplifted like “Pearl Harbor,” at least, succeeded in doing.
The story takes place on the Greek Island of Cephallonia during World War II. The island suddenly becomes occupied by Italian soldiers, one of which is Mandolin player Captain Corelli (Nicolas Cage). Arranged to sleep in the doctor’s (John Hurt) house, the Captain meets the striking Pelagia (Penélope Cruz) who is engaged to Mandras (Christian Bale). The latter goes to war, and Corelli continues to live in the house, a mutual attraction beginning to grow between the two.
It is annoying that the movie starts and ends where Pelagia’s father quotes the “gods.” The movie opens with the power of God to heal criticized on a feast common to Greeks. When a sick man seems to be healed, it’s a totally “psychological phenomenon,” the father says. Others say, “it’s a setup”. Why is it so hard for them to see that Jesus is the healer of all wounds? (At least in the end of the film, when Corelli returns, it’s left open to believe that his return is a miracle.)
Pelagia is portrayed as a woman of stron