Highly Overrated But Still Good

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Very slow pace, didn't appeal to me but I can see the appeal it would have to others. Still a heartbreaking story for the poor man.

David Lynch is a tough act to get into and The Elephant Man is perhaps his most mainstream work. But even a mainstream Lynch film is abstract and The Elephant Man- based on the true story of John Merrick is filled with imagery and allegories that might bore the watcher. Make no mistake- this is a good movie and the performance of John Hurt as the titular character is so good I think it's a joke he did not win an academy award for it. Hauntingly photographed and well acted by everyone from Anthony Hopkins to Anne Bankcroft this is an artistic film and needs a certain mindset to be viewed.

Movie based on the life of John Merrick (John Hurt). He was a hideously disfigured man in a freak show treated like a dog. A kind doctor named Frederick Treves (Anthony Hopkins) sees him. He wants to teach him how to talk and behave and be accepted by society.David Lynch's second film as a director and it's incredible. It's easily his most accessible film and along with cinematographer Freddie Francis presents us with a gritty and grimy Victorian England. It was shot in black and white which fits the story perfectly. Hurt is wonderful in the title role. He was buried under tons of makeup but he still manages to convey what he's feeling. John Gielgud, Wendy Hiller and Anne Bancroft are wonderful in supporting roles. Only Hopkins was bad in his role.Nominated for eight Academy Awards and it got none. A great film that is rarely shown these days. I give it a 10.

This is a very early film in Lynch's professional career, his 1st major studio production following his much more personal, intimate and outrageously bizarre masterpiece, Eraserhead. That freshman effort is perhaps Lynch's most pure expression of cinematic artistry—a fiercely idiosyncratic, absurdly inscrutable gesture of audio/visual mischievous of the most masterful kind. Contained within Lynch's debut feature length movie can be found the bulk of the sublime ideas and ingenious cinematic techniques which infused all his later films with such shockingly vivid & visceral emotionalism. Eraserhead is such a powerfully effective bit of cinematic wizardry that upon witnessing it—no, upon being assaulted by it!—Mel Brooks was convinced that its mad genius creator had to be the director of the unusually odd film which he was producing, and thus David Lynch was hurled into the gaping, yawning, voracious orifice that is Hollywood film-making. Luckily, David Lynch had a magnificently talented cast (Anthony Hopkins, John Gielgud, Anne Bancroft, Freddie Jones, and of course a brilliant John Hurt) as well as a superb script (Christopher De Vore, Eric Bergren & David Lynch) with which to fashion his quaint Victorian period piece/archly Gothic nightmare monster movie. The narrative is strikingly concise and terse, almost bleak in its unadorned simplicity, yet more than ample to support the gargantuan mass of barely tolerable pathos which burdens nearly every scene. That's not to say it's a tortuous slog—no, not hardly. The Elephant Man is only as emotionally crushing as David Lynch has astutely calculated we can endure, and it regularly assumes a surprisingly delicate & buoyant demeanor. In other words, it's an intensely disturbing, wonderfully rich & rewarding emotional roller coaster. Lynch's monster is a ghastly creature dwelling in the darkest, dankest recesses of the human psyche, and it's by dragging us kicking & screaming down to those formidably threatening depths that he's able to then kindly usher us to the shimmering splendor of an equally remote but welcoming inner realm where resides compassion, empathy & genuine humanity. It seems it's only by directly facing life's most daunting, most ugly, most horrific truths can we hope for any real joy, or at least any relief. That's heavy, isn't it?