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Critic Reviews for Ladyhawke
It's a likable-enough adventure that feels much smaller than the widescreen landscapes in which it takes place.
We need more fantasy like this: high adventure, brilliant swordplay, convincing magic, three-dimensional characters, arresting cinematography, and best of all, a good story.
Audience Reviews for Ladyhawke
Directed by Richard 'Lethal Weapon' Donner but looking more like an epic Ridley Scott picture. This is a curious tale of love and romance tied in with a typical medieval/dark ages animal based curse. A form of witchcraft cast upon two young lovers by a man of the cloth, a Bishop, simply out of jealousy. A Romeo and Juliet style historical fable. First thing that will hit you with this film are the striking visuals. The story is set in central Italy (I presume) and there is a very real historical grandiose feel to everything you see. All the scenes are set within (or around) real locations, real castles, real towns, real ruins, real old courtyards etc...The visuals are HIGHLY stylised believe me! every shot is incredibly slick and glossy looking, one could coin the term 'historical scenery porn'. Everything looks like a beautiful living water colour painting with stunning sunsets, dawns, dusk's and twilight's set against some jaw-droppingly lush European countryside and rustic ruins villages and fortresses. Admittedly the one draw back about the visuals are they look too clean, almost too good!. I know this is a fairytale of sorts, a fantasy, but there doesn't really appear to be any dirt or mud anywhere hehe. All the buildings are spotless, the countryside is perfect, every character is dressed immaculately in clean attire, the horses have gleaming coats etc...It all has a lovely dream-like quality but I just felt for the period some grubbiness was required. The other main thing that will hit you is the strange choice in musical score. I'm sure most would think an orchestral score would be fitting for such material, but no, Donner goes down the 'Tangerine Dream/Legend' route with an 80's electronic rock based set of tracks. There are of course some more traditional tit bits in there but most action and fantasy moments are accompanied by this odd rock score. The problem is the visuals and general style in this film are so good and authentic the score just doesn't sit right in my opinion, it feels a bit cheesy and ruins the classical approach. I'm guessing the film 'First Knight' may have pinched this idea, thing is that film didn't have the spectacularly lavish locations, good cast, slick camera work, timeless story...OK that film was just crap. I think this film also has some great casting. Both Hauer and Pfeiffer really do look stunning with their big blue eyes, makes one feel quite ordinary and pathetic. Hauer really is the true knight in shining armour here, the real Prince Charming...OK maybe not in shining armour but instead uber cool pitch black...errr armour/Jedi robes kinda thing. Typical heroic attire with a sweeping black cape with posh red lining, this guy looks quite wealthy. With his blonde hair, blue eyes and atop his black steed he really does look very handsome, first time in awhile I can genuinely honestly feel comfortable saying a bloke looked attractive, I was envious. On the other hand Pfeiffer has this ethereal-like beauty with her lovely short blonde locks, pale skin, strong facial structure and yet more big blue eyes. She truly looks angelic, the perfect Princess or damsel in distress for Hauer's brave knight, together they really are a perfect match and I really could believe the fact they turn into a wolf and hawk at their respective times (Ladyhawke...speaks for itself right). Unfortunately the film is let down by the one casting of Broderick who is a stain upon this gorgeous film. He is truly annoying with his constant nervous ramblings in that squeaky voice of his. I just wanted to slap him across the face every time he made those idiotic expressions of shock or surprise...good God!. The plot does take a bit of getting used too, Hauer as a wolf by night and Pfeiffer as a hawk by day, it also takes time to explain this which is a bit confusing. There are no horrific mutations or transformations though, its all done with subtle fades and nice eye close ups which works well. Overall I did get the impression the plot was stretched out a bit because there wasn't much to actually do, the aim of the game for Hauer is kill the Bishop who cursed them. Not much more to it than that so I think there is filler or padding here and there, it can feel dull in places. You could say its all style over substance I guess, but that would be harsh methinks. Overall the film looks exquisite and is very realistic to reality, even if it is too clean to actually be reality. Everything and especially Hauer and Pfeiffer are period perfect, the pair look like characters from a classical fresco or mural come to life. You'd never guess this was a Richard Donner flick.
Excellent dialogues are this movie's USP. It's good to stumble upon such films once in a while when surrounded by movies relying on actor's body language for most of the part. I'm not against it; it's just that such an entertaining change is more than welcome and quite entertained. There were many flaws, but what it offered made me overlook it. The technical flaws are its main weakness; they're a bit too apparent. I feel that the director took the fact that it's a fiction overtly granted. Besides, I guess the movie could have used a trimming of 15-20 minutes. Another flaw was its casting. Everyone, but the actress playing the title role and the actor playing the Bishop, fit their role. However, Matthew Broderick was par excellence as Phillipe "Mouse" Gaston. He was charismatically fabulous. In fact, Phillipe's character alone was entertaining enough to make me ignore its flaws. Very much recommended from my end.
When it comes to 1980s fantasy, there are three broad categories into which films can fall. There are those like Flesh & Blood, which get the balance between substance and silliness spot on, marrying Machiavellian mercenaries to grin-inducing battle scenes. There are those like Excalibur, which take themselves so seriously that they're fatally dull. And there are those that are totally, utterly, and enjoyably silly - and into that category goes Ladyhawke. Ladyhawke is of historical interest due to its place in Richard Donner's career. The fiasco surrounding Superman II, on which he was replaced mid-shoot by Richard Lester, had thrown Donner's career off-course: he had to watch Superman II and III take huge amounts of money while he delivered flops like Inside Movies and The Toy. But either side of this film, he found himself very much in mainstream favour again, first with The Goonies and later with Lethal Weapon. It is interesting that a director whose place in history has been defined by blockbusters (including, of course, The Omen) should be capable of making something so delightfully odd in the midst of two more rounded and confident efforts. Like many 1980s fantasies, there are aspects of Ladyhawke to which time has not been kind. The most obvious of these is Andrew Powell's soundtrack, which was nominated for a Saturn award in 1985 but has since become regarded in some quarters as one of the worst ever composed. After Toto's contributions to Dune, it became more common for pop groups or composers to score films, due to the selling potential of the groups and the relatively cheap cost of synthesised music. But Powell's efforts go just too far even to be enjoyed ironically, with its overproduction and bouncy pop timbre frequently jarring with the quieter moments. The score is one aspect of Ladyhawke which confirms its inherent silliness, even before we get to the meat of the story. Another such aspect is its visuals, which manage to look lavish and professional while still feeling ropey and cheap. The film is shot by Vittorio Storaro, who famously shot Apocalypse Now - something which is evident in the multitude of blood-red, beautiful sunsets which are central to the plot. But in amongst the terrific scenes of frozen lakes, dark forests and crisp skylines, there are numerous scenes which look like they were filmed in a hurry, treading unintentionally close to Monty Python and the Holy Grail. This feeling of cutting corners is reinforced by the paucity of special effects. For a film in which people metamorphose into animals on a daily basis, the special effects of Ladyhawke are coy to say the least. Apart from a few shots where Michelle Pfeiffer's eyes change shape in close-up, all the big transitions happen off-screen; on several occasions Matthew Broderick leaves the room just beforehand, as though the actors had to go off-stage to change costumes. While Donner wouldn't have had access to the CG wizardry we take for granted, there was plenty of scope in the physical effects of the time to achieve something a little more palpable. Only four years earlier Rick Baker produced the definitive werewolf transformation for John Landis, in a film with half of Ladyhawke's total budget. Added to this shortcoming we have a number of plot holes which either confuse or produce unwanted tittering. First there is the problem of clothes: Rutger Hauer and Michelle Pfeiffer keep the same outfits throughout, but there's not much effort to keep the clothes together when one of the pair is in animal form. Then there is the question of memory. The film borrows the horror device of the person having no memory of what they did as a beast - so how come the hawk remembers to stay with her master, or the wolf not to eat his mistress? Finally, there are several blatant continuity errors. We are told that Pfeiffer appears as an eagle whenever it is daylight, and yet there are at least two scenes where it's daylight and yet she is still there. At least when Shrek half-inched the plot, it was consistent throughout. But in spite of these problems, Ladyhawke is a consistently entertaining little romp. Like Logan's Run nine years earlier, it's only when you stop trying to take it seriously that its ideas and emotional impact bubble to the surface. And like Logan's Run, this transition is cemented via a dominant performance by a great actor - not Peter Ustinov, but Leo McKern. Most famous for playing Horace Rumpole in the long-running TV series Rumpole of the Bailey, McKern had courted cult status at various points in his career: as veteran reporter Bill McGuire in The Day The Earth Caught Fire, as a recurring Number 2 in The Prisoner, and in his previous outing with Donner as a mad archaeologist in The Omen. But whereas that last appearance was a silly cameo in an otherwise seriously creepy film, here McKern brings weight and gumption to an otherwise facile concoction. Like Ustinov before him, he puts a brake on excessive silliness, if only for a moment, in order to steer the viewer towards the emotional heart of the film. Not only is McKern's delivery well-suited to disguising exposition, but he illuminates some cracking lines in the script. Most of the wisecracks go to Broderick, who is on very fine form; his soliloquys with God about telling the truth and resisting temptation are guaranteed to raise a smile. But McKern's timing is note-perfect, as he waits for a knight to fall right through the drawbridge before quipping: "Always walk on the left side!". Best of all comes when Broderick brings him the hawk after it has been wounded by an arrow. Having been told that he can't eat it, McKern bellows: "What? Is it Lent again already?!" While McKern's performance is the icing on the cake, the other major players are also firing on all cylinders. Rutger Hauer seems naturally suited to the historical romp, whether as a heroic figure here or as an antihero in Flesh & Blood. His typically brilliant screen presence, being equally charming and threatening, suits the personality of Navarre as a knight tormented by the woman he loves but cannot have. And while Michelle Pfeiffer's hair may be straight out of a pop video, she too fits her character very nicely. Her beauty conveys both the innate sense of mystery about Isabeau and the vulnerability of her predicament. She's so convincing, in fact, that you keep recognising her facial features in those of the hawk. Having these two charismatic performances goes some way in making the romance at the heart of the film feel believable. Somehow the grandiosity of the setting gives the relationship more weight, making it feel like there is more at stake than with similarly inseparable lovers in more mainstream rom-coms. The story is an interesting variation on the age-old tale of two people destined to be together but cursed to be apart, and for all the ridiculous elements within the central conceit it does end up pulling you in. This emotional pull is most evident in two scenes towards the end. The first occurs when Philippe finds Navarre lying next to Isabeau as a wolf. The sun begins to rise, Isabeau begins to change, and for a split second both see each other with human eyes. Navarre reaches out to touch Isabeau, only for her to change and fly away, leaving him beating the earth in frustrated rage. The other comes during the solar eclipse where the two are reunited and the curse is broken. The slow pacing and distance between them prior to their first real contact reinforces the strength of the bond between them. Ladyhawke also has its fair share of good action. Considering Donner's bad feelings towards Richard Lester (who can blame him?), it is ironic that his action sequences, in this film at least, take after Lester's finest work in The Three and Four Musketeers. The fight scenes have some pretty inventive slapstick and Broderick doing all manner of acrobatics, while Hauer gets to swashbuckle and head-butt to his heart's content. The highlight comes in the climactic fight in the church, ending with Hauer throwing his huge sword over several yards right into the heart of John Wood's scenery-chewing Bishop. Ladyhawke may not have aged as well as Flesh & Blood or Legend, but it remains a definite guilty pleasure and a bona fide cult film. Its flaws are all in plain sight - the soundtrack, the silly plot, the special effects - and yet none of them can completely eclipse the sheer enjoyment that it brings. If anything these flaws serve to make it more endearing, and more fun than mainstream fare like Robin Hood: Prince of Thieves. Donner would make more consistent features after this, but for pure and simple fun it takes some beating.
|Bishop:||Find her and the Wolf who loves her.|
|Isabeau:||So, you intend to by my protector as well, eh? Iâ??m flattered.|
|Isabeau:||So, you intend to by my protector as well, eh? I'm flattered.|
|Phillipe Gaston:||Actually, the truth is, heâ??ll kill me if I lose it.|
|Phillipe Gaston:||Actually, the truth is, he'll kill me if I lose it.|
|Phillipe Gaston:||Sir, the truth is I talk to God all the time, and no offense, but he never mentioned you.|
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