Product Description

The visionary writer-director behind such films as Passion Fish, Lone Star and Sunshine State, OscarÂ(r) nominee* John Sayles has been at the forefront of independent cinema for more than twenty years. In this "vastly amusing, offbeat fantasy" (Variety), Sayles takes "a fresh look at our society" (Los Angeles Times) through the eyes of a black extraterrestrial (Joe Morton) who crash-lands on Earthin Harlemand is taken in by the regulars of a local bar. The alien changes everyone he meets on his "original and eye-opening" (The Hollywood Reporter) journey through the streets of urban America. But can his message of brotherly love resonate with the intergalactic bounty hunters trying to track him down? *1996: Original Screenplay, Lone Star; 1992: Original Screenplay, Passion Fish

Product Details

• Amazon Sales Rank: #41717 in DVD
• Brand: TWENTIETH CENTURY FOX HOME ENT
• Released on: 2003-09-16
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: Anamorphic, Closed-captioned, Color, DVD, Subtitled, Widescreen, NTSC
• Original language: English
• Subtitled in: English, Spanish
• Number of discs: 1
• Dimensions: .20 pounds
• Running time: 110 minutes

Amazon.com essential video
Having been stymied in the midst of trying to make Matewan, John Sayles wrote what he thought could be a cheap, quick little movie and it turned out to be this near classic, which blends fish-out-of-water comedy with trenchant and serious science fiction. Joe Morton plays an extraterrestrial whose spaceship crashes in New York Harbor. When he swims ashore, he finds that most of Harlem is filled with earthlings who look just like him. He can't speak, but he quickly learns to communicate; he also finds ways to understand these strange, quarrelsome creatures, who seem to talk forever without really saying much. Sayles is at his economic best, drawing a touchingly complex performance from the silent Morton and good acting from a strong supporting cast of mostly unknowns. --Marshall Fine

Customer Reviews

Thanks MGM!
Having bought the UAV release of this movie and being disappointed in the playback, I was thrilled to see a major label like MGM has picked up this gem of a movie and released it rrecently on DVD. The picture is crystal clear, and the sound is great. This is how this movie should have been released on DVD in the first place. There are no noise lines or pixeling in the MGM version. There is just vibrant colour and clarity. Parts of the movie show graininess, but that is not the fault of the DVD, it's just the film used, plus this movie is from 1984, so there wasn't digital filming at that time. I am very happy to finally get this movie that has been properly transferred onto DVD. This disc features a running audio commentary from John Sayles, plus an interview with him too. If you were not happy with the UAV version of this movie, I strongly recommend picking up the MGM release, because the movie looks how it should look on DVD and that's great!

5 Star Movie on a 1 Star DVD
I saw this classic movie back in the mid '80s, and I must say that it is memorable. What really makes this movie is the performance of Joe Morton and the supporting cast. Joe doesn't say a word of dialogue throughout the movie, but his facial expressions and body language prove that he has an undisputed talent for acting. He plays an intergalactic slave running away from bounty hunters. Crash landing in New York City, he gets to experience what the world has to offer. The comedy in this movie is subtle, but very witty which adds to the charm of this movie. I was hesitant to buy this movie on DVD because of the reviews & the price. On the back of the keep case, there is a disclaimer stating that there are picture imperfections due to the master used. I've never seen this on a DVD before! The good things about the DVD is that it's very clear & in focus. The colour looks normal (people are not flaming pink or morbid grey looking) & the disc plays continuous & doesn't freeze after each scene. The bad things are: The master used is not even acceptable for broadcast standards. There are a lot of artifacts throughout the movie (periodic horizontal noise lines & pixelling around the 45minute mark) It looks like a worn out BETA SP master was used. This is where the price comes in, for a DVD it's really low priced, but it shows that you get what you pay for. It's unfortunate, because this movie deserves the respect of being digitally remastered & reissued on a properly produced DVD.

Science Fiction On The Real Side.
Imagine the result if someone were wise enough to adapt one
of the works of SF grandmaster Octavia E. Butler. Better yet,
imagine if there had been a grand convergence of Butler's
speculations on world development and African American
perspective, with the poetry, folklore and commentary of
Langston Hughes.
With THE BROTHER FROM ANOTHER PLANET, filmmaker John
Sayles, cinematographer Ernest R. Dickerson, and the
character acting master Joe Morton as the silent lead
all achieve this major feat of storytelling excellence.
Rarely have motion pictures captured the heart of the
Black Diaspora, let alone delve to the narrative core
of actual Science Fiction as deeply as this film does
so magnificently.
Its probing style and cutting edge satire hits with
stone irony; its humor dry to the bone, yet inviting
to the touch, and delightfully devastating to the
unprepared. 20 years later, THE BROTHER still resonates
with sharp genius. Its winding tale and participants
bring home a discerning warmth which delivers the wit
and pathos of Black perspective with breathtaking
fullness.
From the hands of a White man, THE BROTHER is a
marked study of how to do one's homework well, and
more. Certainly, Sayles' pioneering independent
filmwork here proved far more astute in addressing
-and depicting- the Black aesthetic than the lackwit
Tommery, thug-happy Jim Crow jumping, and Stephen
Fechit gesturings far too in vogue -for far too
long- as "Black Entertainment".

Of course, it's how the film utilizes African
American ambiance to deliver one of the great
works of Science Fiction film which has
bewildered both critics and moviegoers alike
for 20 years. Consider how few "big" films are
based solidly in Black culture, let alone SF
films which find us discomfortingly absent,
too often, to this day, and you begin to see
the general confusion about a serious SF film
which is a serious film about an African
American community as well.
Further, since most people regard the SF film
field as technological playgrounds for "comicky
popcorn epics" (let alone the snob-ridden dribble
of "sci-fi"), films which can utilize technology
to help properly tell a great cinematic story has
traditionally bewildered American audiences.
BLADE RUNNER taking decades to be recognized
as an epic, along with the misconceptions
regarding more recent epics such as Spielberg's
MINORITY REPORT and the recent Simon Wells/John
Logan take on THE TIME MACHINE, bear this
out.
For every thematic, dramatic and technical
triumph achieved by the likes of THE LORD OF
THE RINGS, major befuddlement at such daring
work from a principally Speculative source
(witness the tailing-off of interest towards
THE MATRIX trilogy, or the utter disdain
towards Lucas' current STAR WARS films)
all demonstrates just how far audience
attention & audience appreciation has
yet to go.

THE BROTHER eschews super-technology altogether,
throwing FX-seekers way off-line! Sayles and
friends opt for minimal opticals and some
old-fashioned staging to make the point
of THE BROTHER's alienation, as much a
product of the enslavement he's rejecting
as it is a reaction to the literal new
world to which he's come.
Thrown into the hectic thoroughfare of Harlem,
brought face-to-face with the pratfalls of
everything from Social Services to drink
minimums at night clubs, THE BROTHER has
a very short time to learn a whole lot about
the human race, and how he means to fit into
it.
All manner of folk, from a gregarious
White single mother to as rich a collection
of barhoppers as you will find anywhere,
imbue the hapless extraterrestrial with an
array of pessimisms, joys, and reflections,
giving him ample space to contemplate upon
what it is to be human.
Even the proverbial gag of White rubes lost
in Harlem bears much thought to treasure,
poking wry wit at the ongoing perplexities
of "Race".

While the film is a cornucopia of great Black
talent seen in all manner of entertainment over
the past 20 years, it's the lead performer's
standout portrayal which makes this film so
particularly special. A mute wanderer with a
healing touch for man, woman, child and
machine poses a telling metaphor all his own,
one which Joe Morton executes with a skill
of pantomime worthy of Chaplin himself.
Silent, Morton's performance here communicates
volumes of emotional impact, and great dramatic
strength. From confusion over hard drugs and
death, to the pangs of romance, on to the
desperation of his chase for Freedom, Morton
delivers a bravura presentation which will bring
you enthusiastically to your feet by film's
end.
A key longtime player in Sayles' repertory,
and a supporting player frequently seen in
a variety of roles for both film and
television, it's astonishing that this
acting marvel has not been casted in more
lead roles. Underrated, Morton is easily
among this generation's most accomplished
dramatic masters.
Undaunted, Morton carries the vision on,
even as THE BROTHER stands as his signature
showcase.

Best of all, THE BROTHER FROM ANOTHER PLANET
demonstrates how the littlest things bear
the greatest significance. From the quick
social wisdom of a subway ride, to turning
a bureaucracy inside out, the film is a
wonderful excursion into the nature of
Struggle, getting by, and learning to do
more than just survive.
Even the value of keeping an eye on things
takes on a whole new meaning for inner
city dwellers and upwardly mobile bank
executives alike.

When all is said and done, it comes to this:

Be thoughtful.
Be entertained.

Give THE BROTHER some.