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The Hurricane [Region 2] | ![The Hurricane [Region 2]](http://ecx.images-amazon.com/images/I/21K2DPXDCQL._SL500_.jpg) | Director: Norman Jewison
Actors: Denzel Washington, Vicellous Reon Shannon, Deborah Kara Unger, Liev Schreiber, John Hannah
Category: DVD
Buy Used: $27.98
as of 3/21/2010 03:39 EDT details
Seller: valleycd
Rating:  162 reviews
Format: PAL
Languages: German (Original Language), English (Original Language), German (Subtitled), English (Subtitled), Spanish (Subtitled), Czech (Subtitled), Hungarian (Subtitled), Croatian (Subtitled)
Rating: R (Restricted)
Region: 2
Aspect Ratio: 1.77:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: BG101063
EAN: 4011846002369
ASIN: B000056P7F
Theatrical Release Date: January 14, 2000
Availability: Usually ships in 1-2 business days
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| Editorial Reviews:
Amazon.com essential video
In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice. Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon
Amazon.com
In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.
Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon
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| Customer Reviews:
Showing reviews 1-5 of 162
 love that Denzell February 5, 2010
Lynne Marschke
Can't think of ANY Denzel Washington movie that isn't worth its salt...always look forward to his pics.
The Hurricane January 26, 2010
Arnita D. Brown (USA)
Rubin "Hurricane" Carter, an African-American man who rose above his troubled youth to become a top contender for the middle-weight boxing title. However, his dreams are shattered when he is accused of a triple murder, and is convicted to three natural-life terms. Despite becoming a cause celebre and his dogged efforts to prove his innocence through his autobiography, the years of fruitless efforts have left him discouraged. This changes when an African-American boy and his Canadian mentors read his book and are convinced of his innocence enough to work for his exoneration. However, what Hurricane and his friends learn is that this fight puts them against a racist establishment that profited from this travesty and have no intention of seeing it reversed. Denzel Washington is so convincing as Rubin Carter that one forgets that he is, indeed, an actor playing a role. From the beginning to the end, Denzel is perfect. Anyone who enjoys superb acting and a story with a rewarding, emotional ending should not miss this movie.
Pistols shot ring of of the ballroom night August 12, 2009
its too cool oh you enter pattie valintine from the eper hall she sees a bar tender and a cooler of blood cries out My god they killed them all
Asking First-Order Questions August 12, 2009
Yasha Banana
The idea that a man would be strong enough to endure over 20 years in prison for a crime he didn't commit is ... what can one say ... remarkable.
The other man arrested the night of the murders, John Artis, spent the same amount of time in prison as Carter. In the voiceover commentary, director Norman Jewison points out that the authorities would periodically take John Artis to his home and tell him that all he had to do was sign a piece of paper stating that Ruben Carter commited the murders, and he would be set free. Artis refused; the simple reason being that neither one of them committed the crime. As Ruben Carter put it: "John Artis is my hero."
As much as I like this movie and as much as I would recommend that as many people as possible see it, the movie gives the impression that the railroading of Ruben Carter was rooted in a personal vendetta Patterson detective Vincetn Della had against Ruben Carter. Not so. Ruben Carter's case was not rooted in a personal vendetta, a judicial misstep or a "flaw" in the political system. It was, rather a systematic, statewide attempt on the part of a *host* of New Jersey authorities to frame an innocent black man; and to frame him because of his radical political views.
Please Note: The United States was *founded* on radical political views.
Ruben Carter was far from the only political prisoner in the United States in the 1960s. U.S. jails were, and are, full of political prisoners, given that the United States government was and still is rooted in racial and economic injustice.
Corrupt police, corrupt judges and corrupt politicians in the 1960s were given all kinds of signals from the ruling class that their fervor in maintaining "law and order" would grant them unconstitutional authority in applying and interpreting the law.
Put another way: the tone established by those in power -- starting at the top with law and order, unindicted co-conspirator Richard Nixon -- "enabled" corrupt, vigilante officials to take the law into their own hands; even if their arbitrary, extralegal exercise of power meant innocents were convicted.
Maintaining law and order, preserving "the system" were and are all that matter to the ruling elite.
Martin Luther King, Jr., Malcolm X, Huey Newton, Fre Hampton, Medgar Evers, Michael Schwerner, James Chaney, Andrew Goodman, Louis Allen, Addie Mae Collins, Viola Gregg Liuzzo, Mack Charles Parker, Emmett Till, the four children who died on a Sunday morning in Birmingham, Alabama, and countless of other unknowns who were either lynched, imprisoned or murdered in cold blood -- these were political imprionments and political "hits."
-- Consider how "justice" was meted out to the men who killed the three civil rights workers in Philadelphia, Mississippi in 1964 (Schwerner, Chaney and Goodman).
-- Consider Mayor Richard Daley's "shot to kill" order just before the antiwar marchers convened in Chicago in 1968 for the Democratic National Convention.
-- Consider the Kerner Commission's characterization of what took place in the streets of Chicago during that 1968 Democratic Convention -- they described it as a "police riot."
-- Consider the attitude of the chief law enforcement officer, J. Edgar Hoover, toward Martin Luther King, Jr. and the civil rights movement in general.
-- Consider the enabling message of people like *Governor* Orville Faubus, *Sheriff* Bull Conner, *Governor* George Wallace, "Governor* Lester Maddox, et al to the corrupt sheriffs, judges, police and politicians who went out of their way to punish "uppity blacks."
So it's not just one corrupt Patterson detective we're talking about; we're talking about the corruption of entire social, political and economic system -- a system that wanted to not just imprison Ruben Carter but to kill his political beliefs and kill the spirit that generated those beliefs.
Ruben "Hurricane" Carter is an extraordinary person; extraordinary to have endured what he endured. And he is celebrated for his endurance and for his courage. But how many countless people are there -- unsung, unheard of -- who were killed, railroaded and/or imprisoned for crimes they didn't commit, who *didn't* survive as Ruben Carter survived?
Quoting from a review by J. Cooper:
"The film implies that the frame-up of Carter and Artis was unique
--an aberration of justice. But as Carter was well aware in 1967, the state was out to crush the rising opposition simmering in the urban ghettos, and he was a prime target. He was outspoken, bold and had spent much of his youth in a correctional facility. ...
"He was also an outspoken critic of racial prejudice, and a supporter of the civil rights movement in the US from the early 1960s. ...
"The political issues that agitated him and about which he felt passionate are left out of the film. ...
"... the intolerable conditions of ghetto life. These were the conditions that had formed young Rubin Carter: run-down apartments, unemployment over 20 percent, poor schools and little future for youth. ...
"State forces were mobilized against the growing (civil right and antiwar) movement(s) through open police provocations, frame-ups and murders. ... This is the social background to the Carter and Artis case that is barely touched on by the film. The audience is left to conclude that it was one bad cop and one angry black man locked in battle. ...
"... the "guardian angel" jailer who helps Carter retain his dignity by bending the rules for him ... reinforces the artificial 'balance' that the filmmakers bring to the story in their attempt to demonstrate that ultimately the American Justice System "can work.'"
 Great performance, Crappy movie May 4, 2009
Runsilent (Philadelphia PA USA)
0 out of 1 found this review helpful
Denzel Washington is flawless in a terrible stinker of a corny, hackneyed, lopsided biopic of the life of Rubin "Hurricane" Carter, a great boxer of the 60s who is imprisoned for 30 years on charges he participated in a triple murder and then ultimately released. The material is fantastic: a terrible childhood, a mysterious murder, a successful man. But Denzel is the only person who overcomes the triteness of the script and ham-handedness of the direction. Despite Norman Jewison's efforts to canonize Rubin from the get-go, Denzel keeps it powerfully real. Any scene he isn't in is just crap, however. This is not a movie to own. Ever. But it is worth renting.
Showing reviews 1-5 of 162
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