A Dog of Flanders (1999)

An appreciation for fine art, virtue, and relationships marks this family film set in Europe when Flanders was still Flanders before it was swallowed up by France and Belgium. But parents should be aware that this 95-minute video also features a good dollop of death, beginning with the demise of the hero's mother at the very beginning when he is just a baby. Raised by his impoverished grandfather (Jack Warden), Nello (Jeremy James Kissner) nevertheless finds happiness in the dog he finds left for dead, a neighbor girl who becomes his soul mate, and the talent for drawing he inherits from his mother. He even becomes the protégé of the town's premier painter (Jon Voight). But life holds many bitter lessons for Nello, including the death of his grandfather when he is a teen, betrayal by those he trusts, and his own near-death. Gorgeously shot on location by director and cowriter Kevin Brodie, this movie has many rewards, including, finally, a happy ending. For mature 7-year-olds and up. --Kimberly Heinrichs Amazon.com

Wonderful movie for all ages

We bought this movie because one of the main characters is a Bouvier, of which we own two. It was enjoyable to watch, and will definitely be appreciated by the little people who love animals. May 10, 2008

This is not the story Ouida intended for us.

Before you even consider watching this movie read the original novel or watch this version of the movie.

http://www.amazon.com/Dog-Flanders/dp/B00003G1FH/ref=pd_bbs_4?ie=UTF8&s=video&qid=1205378770&sr=8-4 March 13, 2008

OK for kids

This is a movie for children and, as such, it is OK. There is not much about Peter Paul Rubens in the movie and lots about the dog. The word I would use to describe this film is "Harmless." March 8, 2008

A Good Christian movie

This movie is the type of movie you wouldn't mind viewing with your children or grandchildren. It is a movie to make you smile and cry, a movie of tragedy, hope and love when all seems hopeless. January 30, 2007

Ugh! Sappy and cheesy!

I own the 1959 production of this film and like it. So with high hopes, I rented and watched the 1999 version last night. The production is better, as one would expect. But the interesting, multi-dimensional characters from the 1959 version have turned into flat, good or evil charicatures; the philosophy has taken a decidedly post-modern turn; and the plot has been altered from touching (1959) to sappy sentimentality (1999). It has transformed from a touching, interesting story to a flat fairy tale.

In 1959, the grandfather opposes Nello's desire to be a painter, saying that it is no way to earn a living. Likewise, Nello's artist mentor in Antwerp (one of the primary and most interesting characters) lives with his model and tries on several occasions to talk Nello out of being a painter. The miller is a reasonable but hard man who just wants the best for his daughter. The landlord is evil enough to serve the plot, but human enough to be believable: I know people like him ! The movie presents a consistent, optimistic existentialist point of view: virtue is having and making choices which shape your own destiny; while un-virtue is having or exercising no control over one's life. Also, virtue is focusing on the relational, human side of people, while un-virtue is treating people legalistically as objects. As the plot progresses, Nello, though persistent and determined in his pursuit of his dream, finds his choices slipping away until it looks like he has lost everything, even his life. But in the end, he, the miller, the legalistic priest, and the artist mentor all find existential redemption. The ending is rather contrived, but not so much that it ruins the movie. The production and acting are typical of the time; they were perfectly fine back then, but now we are used to much better and you may find them a bit jarring. For example, Nello is the only one in the movie with an American accent!

In 1999, the grandfather is a sappy dotard who fawns over Nello's art and spouts new age platitudes. The mentor also encourages Nello, treats him with kid gloves, and turns out to be Nello's father (jerk those tears!). The miller is a miserly fool who values his money above all else. The landlord is so evil he's funny, not scary; he should be in a Western melodrama. The worldview is a post-modern mish-mash of existentialism, nihilism, new-age spiritualism, Eastern monisim (expressed by the fortune teller), and Christianity. The story is pure good against pure evil, with every opportunity for cheap sentimentality liberally exploited. Visually, this film is much better than 1959; I especially liked the gypsy circus scene. But this is a technical element, and a movie stands or falls on its story and worldview, not its technique.

My recommendation: Skip the 1999 version and get the 1959 version. October 23, 2004

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