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In turns, fun, strange and sad, 'House of Fools, a movie about an Insane Aslum in the middle of war, is only missing a few patients, the critics that gave it a bad review .
Surrealism in the face of horror. Shades of Catch-22.
Tears down convention while simultaneously indulging clichés and ultimately pushing the line so far as to blur it completely.
Good film. Yes, probably, the world at times is more mad than the mad house... but having said that, I have never found the mad house a mad place... that's just me perhaps...
The first 3/4 of the movie is great. The performances are stellar and the story is engaging, it's funny and tragic at the same time. Unfortunately, towards the end the movie feels rushed and heavy handed.
Kinda true, in a fictional narrative sense. A woman's obsession with Bryan Adams while maintaining enough intellect to run the asylum without official leaders being assistance for the patients. It's a film that is enjoyable and very quirky. It is overall decent.
A rather peculiar and difficult movie, esp. the fact of Bryan Adam's starring it.
Was on duty when this was on so spent the first 30 minutes dealing with latecomers and then missed the ending due to a shift change. I found it difficult to connect with this film.
House Of Fools lacks any kind of connection towards the characters and the story is as blurred as many of the handheld camera shots.
Veteran Andrei Konchalovsky's film depicts a very dated view of mental illness.
This film is very taxing to watch and even though there are a few glimpses of emotion found within the mess they barely ripple the emotional surface.
Bryan Adams deity like character seemed to be included to irritate the audience.
How this film was produced, let alone won the Grand Special Jury Prize at Cannes is anyones guess.
The film is pretty clear about its message that wars and the people who fight them can seem just as crazy as the mentally ill. Using that much Bryan Adams in a film is also pretty wacky, incidentally. The motif is largely conveyed through parallelism in the characters, particularly when it comes down to the details of the acting. The cinematography mostly serves to complement this approach and does its part. The most striking aspect of it was the occasional sudden changes to a hand-held "documentary-like' camera, which seemed to signify moments that became "too real" even for our ill protagonist.