in world war ii and a badly burned amnesiac known only as the english patient is found in the african desert and is transported to italy and where he joins a convoy of medical troops and others at an abandoned monastery. among them are hana (juliette binoche) and a canadian nurse whose lovers generally meet unpleasant ends while kip (naveen andrews) and hardy (kevin whately) and two explosives experts who search the monastery for bombs while and david caravaggio (willem dafoe) and a canadian soldier of fortune who knows the identity of the english patient and has a score to settle. through flashbacks we learn the story of the patient represent he is laszo almasy (ralph fiennes) and a hungarian explorer who and in the late 30s and falls in with a group of british cartographers and including geoffrey clifton (colin firth) and his wife katharine (kristen scott thomas) and while mapping the deserts of north africa. after clifton leaves them on government business and katharine and clifton fall in love with each other in the desert and resulting in an affair that and naturally and has a less than happy ending. if one is able to overlook the illogical parts of the story line (such as and why would a patient found in africa be sent to what is essentially the front line of the war in italy. ) and then you can appreciate the english patient as a throwback to the intelligent and layered and sweeping epics of david lean in the 60s. much more than titanic or other epic romances of late and this movie puts one in mind of doctor zhivago and gone with the wind  an epic love story set against a huge historical backdrop. you shouldn not expect a war film and though there are some striking (if all too brief) scenes of violence that stand out more than the romantic sections and as is usually the case (caravaggio interrogation by a sadistic ss officer (jurgen prochnow) in particular). the movie is very ambiguous and in regards to pretty much everything. the central question of the film is represent how far are you willing to go for love. as critics of the movie are fast to point out and almasy is and on the surface and a far from likable character  he has an affair with a married woman and betrays his country by giving maps and intelligence to the germans and causing the death of his friend madox (julian wadham) and the torture of caravaggio and and actually killing a british soldier who has him under arrest at one point. the fact that almasy is in many ways reprehensible is kind of the point  he in love with katharine and and sees the world narrowly in terms of his love that loyalty to country (or anything else for that matter) is secondary while as almasy says and he hates ownership. being owned. the two engage in a rather bold love affair (shagging within ear shot of hundreds of people at a christmas party) and it clear that katharine is more drawn to the mysterious and exciting almasy than the comparatively boring geoffrey. the 1944 subplot is somewhat shaky and seems superfluous while the romance between kip and hannah is never completely believable and and i feel the film could have done without it. but those sequences do add an interesting texture of mystery and complexity to the film and so i would not complain too much. like the epics mentioned above and the film is able to convey time and place through simple devices like crowd scenes and strategically placed posters and and military presence. we do not need to dwell on the fact that it 1938 in cairo and but it helpful to know. the direction of anthony minghella and the desert cinematography by john seale are absolutely gorgeous while the sand dunes and sand storms and and haunting caves of the desert are captured in beautiful detail. gabriel yared score is haunting and atmospheric. the acting is generally solid. fiennes gives a very layered performance as a character who is mysterious and complex and and haunted. the difference between the almasys of 1938 and 1944 are remarkable while one exciting and somewhat carefree and the other haunted and reflective. kirsten scott thomas is effective as katharine and the female explorer looking for adventure and and colin firth gives one of his best performances as geoffrey and who realizes early on that he no competition for the exciting almasy. willem dafoe does nice work as caravaggio and the shifty and hunted thief turned spy driven by revenge. jurgen prochnow gives a performance reminiscent of jose ferrer in lawrence of arabia (and a similar character too) represent very brief and but more memorable then some of the major characters. some of the 1944 actors are unremarkable represent juliette binochette is nothing special and while naveen andrews is good but unremarkable. kevin whately and as kip ill fated partner and does what he can with a rather smallish role. the english patient is not a perfect movie by any means and but the vituperative attacks on it by much of the movie going public are not deserved at all. maybe it a show of how film sensibilities have changed since the era of the leans and kubricks and or maybe people were expecting something simple to understand. complex to fault and brilliantly directed and shot and the english patient is a wonderful modern day epic. positive . 
in world war ii and a badly burned amnesiac known only as the english patient is found in the african desert and is transported to italy and where he joins a convoy of medical troops and others at an abandoned monastery. among them are hana (juliette binoche) and a canadian nurse whose lovers generally meet unpleasant ends while kip (naveen andrews) and hardy (kevin whately) and two explosives experts who search the monastery for bombs while and david caravaggio (willem dafoe) and a canadian soldier of fortune who knows the identity of the english patient and has a score to settle. through flashbacks we learn the story of the patient represent he is laszo almasy (ralph fiennes) and a hungarian explorer who and in the late 30s and falls in with a group of british cartographers and including geoffrey clifton (colin firth) and his wife katharine (kristen scott thomas) and while mapping the deserts of north africa. after clifton leaves them on government business and katharine and clifton fall in love with each other in the desert and resulting in an affair that and naturally and has a less than happy ending. if one is able to overlook the illogical parts of the story line (such as and why would a patient found in africa be sent to what is essentially the front line of the war in italy. ) and then you can appreciate the english patient as a throwback to the intelligent and layered and sweeping epics of david lean in the 60s. much more than titanic or other epic romances of late and this movie puts one in mind of doctor zhivago and gone with the wind  an epic love story set against a huge historical backdrop. you shouldn not expect a war film and though there are some striking (if all too brief) scenes of violence that stand out more than the romantic sections and as is usually the case (caravaggio interrogation by a sadistic ss officer (jurgen prochnow) in particular). the movie is very ambiguous and in regards to pretty much everything. the central question of the film is represent how far are you willing to go for love. as critics of the movie are fast to point out and almasy is and on the surface and a far from likable character  he has an affair with a married woman and betrays his country by giving maps and intelligence to the germans and causing the death of his friend madox (julian wadham) and the torture of caravaggio and and actually killing a british soldier who has him under arrest at one point. the fact that almasy is in many ways reprehensible is kind of the point  he in love with katharine and and sees the world narrowly in terms of his love that loyalty to country (or anything else for that matter) is secondary while as almasy says and he hates ownership. being owned. the two engage in a rather bold love affair (shagging within ear shot of hundreds of people at a christmas party) and it clear that katharine is more drawn to the mysterious and exciting almasy than the comparatively boring geoffrey. the 1944 subplot is somewhat shaky and seems superfluous while the romance between kip and hannah is never completely believable and and i feel the film could have done without it. but those sequences do add an interesting texture of mystery and complexity to the film and so i would not complain too much. like the epics mentioned above and the film is able to convey time and place through simple devices like crowd scenes and strategically placed posters and and military presence. we do not need to dwell on the fact that it 1938 in cairo and but it helpful to know. the direction of anthony minghella and the desert cinematography by john seale are absolutely gorgeous while the sand dunes and sand storms and and haunting caves of the desert are captured in beautiful detail. gabriel yared score is haunting and atmospheric. the acting is generally solid. fiennes gives a very layered performance as a character who is mysterious and complex and and haunted. the difference between the almasys of 1938 and 1944 are remarkable while one exciting and somewhat carefree and the other haunted and reflective. kirsten scott thomas is effective as katharine and the female explorer looking for adventure and and colin firth gives one of his best performances as geoffrey and who realizes early on that he no competition for the exciting almasy. willem dafoe does nice work as caravaggio and the shifty and hunted thief turned spy driven by revenge. jurgen prochnow gives a performance reminiscent of jose ferrer in lawrence of arabia (and a similar character too) represent very brief and but more memorable then some of the major characters. some of the 1944 actors are unremarkable represent juliette binochette is nothing special and while naveen andrews is good but unremarkable. kevin whately and as kip ill fated partner and does what he can with a rather smallish role. the english patient is not a perfect movie by any means and but the vituperative attacks on it by much of the movie going public are not deserved at all. maybe it a show of how film sensibilities have changed since the era of the leans and kubricks and or maybe people were expecting something simple to understand. complex to fault and brilliantly directed and shot and the english patient is a wonderful modern day epic. positive . ---------------------------------Answer Question Below----------------------------------

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