Although it has its amusing moments, in eneral the plot does not convince.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Amazing worth wacthing. So good. Biased but well made with many good points.

A double-bill of THE BEGUILED, Thomas Cullinan's source novel is a civil-war drama positing a tantalizing scenario where a wounded union soldier fetches up in a southern all-girls' school, nurtured to recovery by the apparently good-willed women but also subjected to temptations from female gazes and one false move, he will go through purgatory of his sorry life. The 1971 version is directed by Don Siegel, the third of his five collaborations with Clint Eastwood, who plays the Yankee Corporal John McBurney, and is discovered by a 12-year-old Amy (Ferdin, an absorbing talent), to whom he indulges with a peck on her lips, a blatant way to take away a child's first kiss (also pretty provocative by today's regressive yardstick), instantly, what Siegel hammers home to viewers is that he is not a humdinger, and through glimpses of fleeting flashback interleaved into the narrative, John emerges as a congenital liar, flippant and manipulative, currying favor from his petticoat accompany to slough from a possible fall of incarceration, whether it is Miss Marsha (Page), the headmistress of the seminary school, Edwina (Hartman), the virginal teacher to whom he claims his attraction, a nubile 17-year-old student Carol (Ann Harris), who is sexually active, even the slave Hallie (Mercer, a defiant soul hampered by her identity), cannot evade his come-ons. The advent of a hot-blooded albeit bedridden male inevitably causes an erotic disruption among the exclusive distaff clique, whose members are circumspectly secluded from the battlefield merely outside their perimeter and sexually repressed, for pert, callow girls, they are inclined to project John as a perfect specimen of their untested sexual allure versus the opposite sex, in the cases of Edwina and Carol, one is the prudish committed type and the other is a wanton nymphet. But the most complex character amongst them is no doubt Miss Marsha, whose incest past and subliminal lesbian proclivity get a full treatment in the audacious script and visual presentation, the latter is even coalesced with a flagrant religious connotation to soup up the film's maverick idiom. When the crunches arrives, a man's conceit in his potency is punished by blunt castration and signifies a rude wakening of the priapic worship. On top of his virile stallion credence, Clint Eastwood imbues a cunning, almost overweening facade which audience isn't familiar with, not cut from the same cloth from his hard-boiled tough-guy legend. Geraldine Page, emboldened by her matriarchal gravitas and demanding onus, doesn't shy away from any extraneous intrusion (the Union and the Confederacy alike) and builds a palpably beguiling tension through the mind games she plays with Eastwood yet holds the rein from stem to stern in unyielding resolution of taking the escalating situation in her own hands. Elizabeth Hartman, the fragile Oscar-nominated actress whose premature demise was a harrowing tragedy ripe for cinematic transposition, brings about something equally tangible and visceral as she is bedeviled by the discord between a man's promise and his action, but still holds out the last remaining benevolence out of her own impressionable nature. Crowned BEST DIRECTOR in Cannes, Sofia Coppola's remake is an aesthetically beguiling psychological intrigue, superbly recreates a mystical Gothic quaintness in the closing days of the civil war entrapped within the terrain of a majestic mansion of antebellum south, which certainly is a scintillating upgrade from the 1971 version's sepia retro flair. But story-wise, Sofia's script not only eviscerates the role of Hallie (which is a double-edged sword since she claims that out of the respect of this sensitive issue, she doesn't want to tread lightly, but also can be easily accused of racially insensitive), but also leaves no allusion of all the taboo issues tackled in Siegel's movie, lesbian kiss, incest depravity and of course, that inappropriate kiss between a grown-up man and a teenage girl, are outright sanitized, and in fact, the whole story has been strenuously internalized, for instance, John's transgression, where is given a plausible justification in Siegel's film, is carried out in a slipshod manner, indicating that it is nothing less than a spur of horniness. Atmospherical over dramatic, it is beyond reproach that Coppola opts to tell the allegory with her own agent, but unfortunately, the resultant impact doesn't meet up with expectation, especially when juxtaposed with its far more entrancing antecedent. Nicole Kidman intrepidly takes the mantle from Ms. Page, and actualizes an extremely sensual sponge-washing scene with Colin Farrell's less forthcoming and more sympathetic portrayal of a soldier turns paraplegic when he is subjected to an ambiguous retribution out of the necessity of saving his life. Kirsten Dunst and Elle Fanning don't make a splash in the shoes of Hartman and Ann Harris respectively, save Oona Laurence, whose Amy, precisely captures a child's malleable mentality.So, the jury is out, the remake is humbled by the original, which is quite a shocker because on the paper, Coppola's feminine sensitivity seems to be more adept to parse this age-old gender ax battle than an action-inclined Mr. Siegel, again there is no sure thing in the film industry, and that is exactly why it keeps us intrigued every time.

The original film about intrigue at a ladies school during the end of the Civil War provides a more complex look at the war between the North and the South and the relationship between men and women. Amy (Pamelyn Ferdin) finds the wounded Union soldier John McBurney (Clint Eastwood) and helps him return to the school run by Miss Martha (Geraldine Page). Teaching at the school is Edwina (Elizabeth Hartman) who finds the mysterious soldier attractive. The women take the man indoors and board up the windows to keep him inside. The slave Hallie (Mae Mercer) doesn't like the newcomer much either though he tries to work his charm on her and point out that he is fighting for her freedom. She comments that she sees white people as all the same. Carol (Jo Ann Harris) also takes a liking to McBurney, though she still considers him a traitor, kissing him when the others aren't looking.McBurney charms each of the women as they think about turning him over to the Confederate soldiers. While McBurney flirts with Carol, he calms a jealous Edwina by kissing her. Carol becomes jealous and ties the blue rag symbol for a Union soldier. Martha, who didn't turn her in before, steps up when Confederates nearly shoot McBurney and lie that he is her cousin from Texas. This allows him to stay unharmed though the Confederate soldiers want to stay around with the women as well. Martha also becomes enamored with McBurney reflecting back on the relationship she had with her brother and imagining a threesome with Edwina. Check out more of this review and others at swilliky.com

"The Beguiled" is about as unusual a Clint Eastwood movie as you are ever watch. This Malpaso-Universal Pictures co-production qualifies as a Gothic melodrama set during the early days of the American Civil War. The setting is the Farnsworth School for Girls in southern Louisiana, not too far from the Mississippi border. To put things into perspective, Confederate troops passing by the school mention to the ladies the imminent battle of Champion Hill. Champion Hill occurred in May 1863 with the Confederating losing it before the eventual loss of Vicksburg that served to cut the South into two sections. Anyway, during a skirmish between Union and Confederate forces, a young soldier with the 66th New York, John McBurney (Clint Eastwood of "Dirty Harry") is wounded. Amy (Pamelyn Ferdin of "The Toolbox Murders") is out scouring the countryside for mushrooms when she stumbles onto him and saves him from capture. The head mistress and owner of the Farnsworth School, Martha (Geraldine Page of "Sweet Bird of Youth"), isn't overjoyed with helping this wounded Yankee. As it turns out, McB—as he prefers to be called—was wounded in the lower right leg. McB's arrival at the school polarizes the six students, one teacher, and the slave Hallie. Martha places McB in the music room, and Hallie (Mae Mercer of "Frogs") and she bathe and shave him. Some of the girls detest McB's presence and consider Martha's action treasonous to the Southern clause, while others just want to take advantage of his masculine presence. Since he is the only man in the house, McBurney decides to capitalize on his sexual prowess and he generates a rivalry between the older lady Martha, her shy teacher Edwina (Elizabeth Hartmann of "Walking Tall") and some of the other young ladies. The outcome is not good as McB discovers to his own chagrin. Don Siegel directs this yarn with considerable subtlety, and visual metaphors abound. The principal visual metaphor is a crow tethered to an upstairs balcony by one leg who is injured. At one point, Siegel superimposes a shot of the crow over a shot of the young Yankee when he is confined to his bed in the music room. All of these women and girls are differentiated so "The Beguiled" possesses characters with depth and difference. McBurney rarely tells the truth about himself because he is terrified that Martha will hand him over to the Confederates and he will wind up in Fayette Prison, the equivalent of Andersonville. At one point, just as Martha is poised to turn McB over to the Confederates, she watches in horror as a wounded Union soldier tries to escape and the Confederates retrieve him without resorting to force. She learns that this abject trooper only wanted a quick death rather than a lingering one in a rebel prison. "The Beguiled" is not conventional in any respect either. At the outset, you get the feeling that something more than is obvious is going on between Martha and her one and only instructor Miss Edwina. As it turns out, Martha not only had an incestuous relationship with her brother, who has gone missing, but also she has feelings for Edwina. After she beds down McB in the music room, she has a dream about having threesome sex with Edwina and McB. During the first third of "The Beguiled," McB acquaints himself with the women, develops a bond with Martha and she refuses to turn him over to the authorities. At one point, he helps her repulse an attack from southern intruders. During the second third, he shares the sheets with three women, and incites Miss Edwina when she catches him with a student. Edwina knocks McB down the spiral stair, splinters his leg, and reopens the wound. Martha has to operate and amputate his leg. This turns McB against the women. Ironically, Edwina forgives him and wants to marry him. McB makes the fatal mistake of striking out at little Amy and killing her turtle Randolph. Amy picks the mushrooms that the ladies cook for him. Indeed, our tough, flinty-eyed hero dies in the end of poisoning, and it is the least of the women who killed him. "The Beguiled" is a fascinating film about complicated relationships. Don't be misled by the opening credits with all the Civil War era photographs.

Young Amy finds injured union soldier Corporal John McBurney (Clint Eastwood). She takes him back to her boarding school run by Martha Farnsworth (Geraldine Page). The girls are fearful of the approaching war and the possible arrival of union soldiers. Martha decides to not turn him over to the Confederate patrols. Every female is stirred up by the arrival of McBurney. He's a charmer and a liar. Martha is both lustful and jealous. Carol (Jo Ann Harris) is a sexual 17 year old student. Edwina (Elizabeth Hartman) is the sweet innocent romantic teacher. Amy is completely infatuated with McBurney and keeps a pet turtle.This movie has a natural Gothic romantic horror vibe. I really like the constant disturbed tone. It's a slightly different character that Eastwood is playing. The movie is playing to fear of a group of women destroying a man. I would prefer the school be much more isolated. More isolation would build up a greater sense of dread. The other possibility is to make capture a much more vicious affair. That way the dread is build up both outside the school as it slowly builds inside. Either way, the influences from the outside keep muddying up the creepy relationships in the house.