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When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

While it doesn't offer any answers, it both thrills and makes you think.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It's 1844 Jamaica. Annette (Rachel Ward) is trying save her rundown family plantation after the emancipation of the slaves. Christophene is the only slave who stayed loyal. Annette has daughter Antoinette and drunkard husband Daniel Cosway. She marries Englishman Paul Mason (Michael York) who threatens to bring in coolies to replace the workers. With old hatred, the former slaves burn the mansion down. Annette goes mad and Paul Mason goes back to England. Some years later, Mason arranges Antoinette (Karina Lombard) to marry Edward Rochester (Nathaniel Parker) and they take over his island property.Karina Lombard is undoubtedly a beautiful woman. Her flat accent can either be exotic or put me to sleep. This time, she puts me to sleep. Nathaniel Parker isn't terribly charismatic either. This is a luscious overwrought melodramatic softcore porn movie. The harder it tries, the less compelling it is. It's boring and slower than molasses.

No one sets out to make a bad movie, but I think this film had to have fallen short of what the filmmakers intended. One sign that they felt the script wasn't delivering the punch needed was the number of times the stars shed their clothes.It's a pretty complex plot, and is the prelude to the story of "Jane Eyre". Set in the 1830's, it involves two generations of women living on a plantation in Jamaica. Antoinette Cosway (Karina Lombard), like her mother before her, marries an English gentleman; in her case this is Edward Rochester (Nathaniel Parker). She has been given the estate on the proviso that she marry an Englishman to manage it. For a while, Edward and Antoinette are happy, and can't leave each other alone, having many a sweaty encounter in the candlelit bedroom.Then everything starts to unravel; the madness that runs in Antoinette's family begins to overwhelm her, and there is trouble with the servants. Edward has another hot and sweaty encounter in the bedroom, but this time it's with one of the servant girls. Edward heads off to England and it all ends in tears, flames and madness.The over-the-top quality of the whole thing does give the film a certain energy, and there is frisson in naked trysting to the beat of voodoo drums, but there is a lot in the film that just doesn't gel.Narration can be a lazy way to tell a story in movies. Although it has worked beautifully in some films, it seems laboured and overly literate in this one. The script problems are not helped by the awkwardness of the lead actors.The film includes real locations in England and Jamaica but are shot in a very straightforward and unimaginative way. The actors and extras look as though they are simply dressed up - they don't inhabit the era at all.Even the real sailing ships sit statically in calm waters, giving little sense of having crossed vast distances. This is a film that needed a touch of art directorial inspiration.In fact, old studio films such as "Green Dolphin Street" or "Son of Fury", shot for the most part on the sound stage, with their sets teaming with extras and ships under full sail, caught the romance of exotic locales far better. One element that really works is Stewart Copeland's score. I was surprised to hear motifs and themes that I was familiar with from his powerful score for "Rapa Nui", composed a year later. They are more embryonic here, but contain the same blend of exotic elements with atmospheric and thematic chords. While not unwatchable by any means, the film has more than a few problems to overcome, not the least being an actress out of her depth, and little feeling for time and place.

This movie takes a great, rich, wonderful novel and reduces it to the level of near soft porn. So much time is spent on silly, pointless nude scenes that the plot has to be severely condensed. Major plot points seem to happen suddenly, without context or explanation and characters are poorly developed And the nude scenes aren't even very good, they were just cheesy - after the second or third time Rochester and Antoinette stripped, I was laughing out loud.The film has some great Jamaican locations, but that's about the only good thing I can say for it.

Be prepared for some heat, sexual and otherwise, with "Wide Sargasso Sea." But nothing can prepare you for the pulsing, haunting, hypnotic main-theme of the soundtrack. "Mt. Underwater" is the official title of this piece, composed by Stewart Copeland, which runs while the Sargasso seaweed-fronds writhe in the waves, seen from underwater, right from the opening credits. Only the beginning; so much more follows: an incredible history. There's the ending of slavery and its aftermath on the island. Themes of loyalty, betrayal, madness, and even love, especially love, are interwoven masterfully. The majestic presence of the island of Jamaica remains in the mind's eye long after the end, too. The heart of the tale runs quite close to such films as the triple Oscar-winning "The Piano" (1993) or "Sirens" (1994). And, yes, there are many moments, even sustained ones, where characters are nude. But beautifully so! The spirit of each main character appears nude as well, by the film's end. The lovers, Edward and Antoinette -- what fiery and troubled spirits they are -- or become. Karina Lombard's beauty (as Antoinette) runs all through here, but women will get quite a few opportunities to view Edward (played by Nathaniel Parker). Ultimately, Lombard's ability to show Antoinette's abiding spirit wins out; the strength and truth of her love -- but more than that -- of her life-spirit, her connectedness to the culture she was born into -- these qualities remain unforgettable. Initially, I wanted to describe this film as the most sensuous, most passionate, I'd ever seen. Then I remembered Italian director Lina Wertmuller's "Swept Away" -- one of the greatest films ever; and most films suffer by comparison. But "Wide Sargasso Sea," in Lombard's portrayal of Antoinette, overmatches "Swept Away" for the strength of its lead female character. Without this sort of beauty, the appeal of even the most perfectly-formed naked flesh means nothing. I'm not saying "Wide Sargasso Sea" is the better film. No. Because the richness of actor Giancarlo Giannini's performance in the lead role of "Swept Away" secures its place as an international classic. Both stories originated with women writers: Jean Rhys, in the novel of the same title for "Sargasso" (many years before the film was made). "Swept Away" has the unmatched genius of Wertmuller as both director and writer. I've read Rhys' novel, by the way -- you can't blame the director or the film's scriptwriters for the passion and sensuality portrayed onscreen in "Wide Sargasso Sea." It amazed me how closely the screenplay matched the original text in terms of the dialog. Yes, the passion and nudity aren't so explicitly described in the novel -- but that doesn't mean they aren't felt and imagined all the more powerfully by the reader. It's a yin/yang thing. Women may prefer the sensuality of words to images, as a rule; men generally respond most immediately to images. Make a novel into a film and -- voila, the visual will come to the fore, in fact, must do so.