Word: horseman
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Though it takes on the dimensions of a 19th-century adventure and a love story, the French film "Le hussard sur le toit (The horseman on the roof)" ultimately doesn't succeed as either. Attempting to put new a "psychological" spin on old themes, yet still clinging to elements of an oddly oldfashioned romanticism, it may leave you wondering what you're supposed to feel. As a result, it left this viewer feeling very little...
...Angelo to finally shake off the constraints of his pride--and the rigid code he has used as a shield against his own feelings. But the remainder of the movie seems to run out on itself, and the ending, though possibly meant to be subtly moving, is only disappointing. "Horseman on the Roof" simply fails to catch fire, though it succeeds partially in capturing the complexities of a relationship between two proud people...
...character needed to pull the post-Soviet economy out of its tailspin. To Moscow's radical democrats, however, he personifies what former Finance Minister Boris Fyodorov calls the "lifeless and illiterate state-planning ideology of the red managers." To the West, Chernomyrdin appears little better than a dark horseman of Russia's impending apocalypse -- a flashback to Brezhnevite stagnation whose disdain for the most basic prescriptions of capitalism threatens to destroy reform...
...room is emptier. "I took that," Hopkins says, "and kept it in my head for the entire film. It was simple: just stand still." So much of the comedy in his role, and the sadness, arise from this stillness. Before a hunt, Stevens holds a drinking cup for a horseman; the aristocrat takes no notice of his offer, and the butler takes no notice of the slight. His stillness may mask sexual fear: when Miss Kenton amiably approaches him, he freezes like a bruised virgin. The rest of the film Hopkins carries with a small gnomic smile that means...
...achieved international acclaim with two novels, two volumes of poetry, several plays and a series of notes from his prison experiences titled The Man Died. In 1979 he directed Death and the King's Horseman in Chicago, which enhanced his reputation in the West