From the director of Hope & Glory comes a "wildly ambitious parable [that] transports us to a singularly imaginative realm" (Boxoffice). The Emerald Forest is "an exotic and erotic daymare replete with one lushly enrapturing scene after another" (Daily News)! For ten years, engineer Bill Markham (Powers Boothe) has searched tirelessly for his son Tommy who disappeared from the edge of the Brazilian rainforest. Miraculously, he finds the boy living among the reclusive Amazon tribe who adopted him. And that's when Bill's adventure truly begins. For his son (Charley Boorman) is now a grown tribesman who moves skillfully through this beautiful-but-dangerous terrain, fearful only of those who would exploit it. And as Bill attempts to "rescue" him from the savagery of the untamed jungle, Tommy challenges Bill's idea of true civilization and his notions about who needs rescuing.
John Boorman's 1985 South American epic never quite gets all of its gears working simultaneously, but it remains an often startling work with an extraordinary performance by the director's own son, Charley Boorman. Powers Boothe plays an American engineer working on a dam project in Brazil. When his young son is seemingly absorbed one day into the dense perils and beauty of the Amazon rain forest, Boothe's character goes on a protracted, 10-year search for him. In the interim, Boorman puts his full storytelling powers to work by characteristically exploring the arcane rhythms and dangers of an indigenous world hidden from ordinary view. Specifically, Boorman leads us into the life of a forest tribe who have assimilated the missing child and who will ultimately send him back with the opposite of his father's pro-development sensibility. The movie is gorgeous to behold, and it's great fun watching Boorman find ever-novel ways of making the same film again and again. But the environmental message and the emotion of the core relationship get in each other's way a bit, preventing the film from uniting on every front. Still, this is a must for Boorman fans. --Tom Keogh