KnotMissPriceless Why so much hype?

Lovesusti The Worst Film Ever

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

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

Kong Ho Meng Twin Sisters carries so much promise to be a one of the great Holocaust-related movie pieces, while being unique in that it touches none of the gory parts of war but with enough sentimental value and focus on the consequences of complicated family relationships.However I was not impressed - it looked like an average movie to me in the end because it lacked a lot of kick that I expected but did not materialize, given the weight of the subjects matter.One of the major flaws - I was quite disappointed that the (adult) sisters lacked the enthusiasm or chemistry in certain very critical scenes. Not knowing each other for so long was not a good enough excuse for this flaw, because the sisters apparently had better chemistry with their male partners during their own first encounters? The arc involving the old version of the sisters looked like a mere filler to me as I believe the movie chose to detract focus on the present and dwell more in the past, a big mistake, as they could have demonstrated more via a longer last-chance reconciliation meeting.This was an obvious contrast to the child versions of the sisters who were better actors in my opinion, as the kid actors had demonstrated strong raw emotions and worries towards each other characters despite being miles apart, and that was when the movie was at its best (looked like a 4.5 star at that point).

gradyharp DE TWEELING (TWIN SISTERS), based on the highly successful novel by Tessa de Loo and adapted brilliantly for the screen by Marieke van der Pol, is assuredly one of the most touching films to date about the strength of family bonds decimated by the horrors of WW II. Director Ben Sombogaart follows Dutch writer de Loo's lead in making this story about the differing fates of twin girls separated at the death of their parents more of a parallel tale than capitalizing on the grim reality of Hitler's influence. The result is a cinematically magnificent, gently hued verismo style of film that succeeds even more in its impact than if it were constantly doused in the dark side of its subject.Germany 1920. Lotte Bamberg (played by three actresses though a long life - child Julia Koopmans, young woman Thekla Reuten and aged woman Ellen Vogel) and Anna Bamberg (child Sina Richardt, young woman Nadja Uhl and aged woman Gudrun Okras) are inseparable twins at age six, living life to its fullest until suddenly both parents are gone and they are split up: the consumptive Lotte goes to live with her upper class Dutch aunt in Holland and the healthy Anna remains in Germany with her poor uncle on a pig farm. Lotte lives a life of privilege, recovers form tuberculosis, studies German at University and sings Schumann ('Frauen Lieben und Leben' appropriately!) accompanied by her soon to be husband David (Jeroen Spitzenberger) who happens to be Jewish. As the war threatens Hitler's invasion on Holland, David is sent to Auschwitz and brokenhearted Lotte marries David's kind brother and has a child. Meanwhile Anna leads an abused life on the poor and filthy farm, is beaten by her heinous uncle when she begins dating a young handsome Austrian Martin (Roman Knizka) and runs away to work as a maid. Martin believes in Socialism and joins Hitler's army, and is killed.Throughout the years of separation each twin writes to the other but their guardians for varying reasons never mail the letters. Anna finally finds Lotte and they have a brief time together in Lotte's elegant surroundings. But when Anna observes German dinner guests berating Jews she flees. The two sisters find it difficult to separate the losses of their husbands: Lotte blames Anna's siding with the Nazis as a cause of David's death. Anna defends Martin's role as one of idealism that had nothing to do with the genocide of the Jews. They part, seemingly to never meet again. But as old women bedraggled Anna seeks out the elegant Lotte and the two come to understand their opposite opinions of what the war did to destroy their happiness.The entire cast is so fine that it is difficult to single any one actor out for distinction: this is truly ensemble acting. Never pushing the story to the edge of saccharine or excess of war violence, director Sombogaart keeps his focus on the dialogue between the sisters central, embroidered with the opposing dichotomies of class and political commitment visceral but understated. The cinematography of Piotr Kukla and the radiant musical score by Fons Merkies are astonishingly effective. This is one of the powerful movies about the Holocaust from an entirely different stance - one that grabs you by the heart and holds on for the 135 minutes of the film...and beyond. In Dutch, German and English with subtitles. Very Highly Recommended. Grady Harp

stamper I read the book to this film about 6 years ago, back when I was in high school and was so impressed by it that I bought the book for my bookcase three years ago or something. I haven't read the book since and I'm not some kind of purist, heck I don't even remember the specifics of the book. At best that makes me as biased as someone who didn't read the book at all...or at worst it means that I'm not a 'purist'.Translating a book into film, the visible medium, there are so many stages at which it can go wrong. Luckily it didn't with this one. The casting is perfect. I especially liked how Lotte and Anna spoke believably broken German and Dutch. Not as it sometimes happens in American productions, when they for instance speak Dutch and say it is German. This was very well done indeed and added to the films worth. What touches me most about De Tweeling though is the fact at heart, that you get shaped partly by your environment. It is worked out very well in this film and my favorite part is that the film distances itself (as does the book) from pointing out one of the two sisters as 'the bad guy'. The film just shows the horror, the desperation and the pain on the common man from both sides; the aggressor and the wrongfully invaded. It is a truly great theme and it is one of the few films I guess in which you actually get to feel sympathy for the Germans (or at least some of them). Maybe that is understandable. Maybe it is logic that most films portray the Germans as gruesome and despicable as quite a lot of them maybe were. But every once in a while a film comes along that shows us that they are human too, that they suffered losses; that German lives lost shatter German families as they shatter American, Dutch, Polish, Jewish, English and so on. This is one of those films. It strays from the cliché, which is what I liked about it as I did like Stalingrad (1993) and Die Brücke (1959).8 out of 10

evdleer When their parents die, both twin sisters Lotte and Anna are seperated by their family. One of them is raised by a wealthy Dutch family and the other one by a German farmer family. They are not allowed to see or even write each other. Because they live in two different worlds they become two different women. The dutch girl is going to marry a Jew, while the German one falls in love with a SS-soldier. When they finally contact each other it turns out that they have grown apart too far, and a definite break seems inevitable. Will it ever be possible to become reconciled with each other?Twin sisters is a beautiful movie that fully deservs the oscar nomination. It's not really another WWII movie as much people think, but more a touching story behind the actual events of the war.