The Criterion Collection

[fdm]

Originally Posted by Edward J Grug III

The correct answer is all of the P&P films in the Criterion Collection are amazing and you love them all.

If you got anything other than that, please rescreen the movie or movies until you are fixed.

If symptoms persist, please see a doctor.

(Peeping Tom didn't blow me away, but I liked it pretty well. I did love Powell's Edge of the World, available on blu ray from BFI)

Just watched A Canterbury Tale the other day for the first time, partly inspired by some of the P&P talk here recently. Interesting/odd film. Definitely worth a watch.

-

Realized that it was the last Criterion dvd with the original Criterion Collection logo, which inspired me to get off (well back on actually) my ass and finish up the early spines I've not seen yet preceding it. Today was Koko. Will see how it progresses the next few weeks (got a few longs ones to go, along with some other shorter ones). Need to pick up the pace if I'm ever to get around to watching them all.

[Scottie]

Originally Posted by joie

I watched "Killers" to see the clips from it that were used in "Dead Men Don't Wear Plaid," which is a good parody of film noir. I rate "Killers" a B- movie, something less than a B movie.

Yeah, it definitely had a B-movie feel to it.

Furthermore, I just browsed through it again and pretty much once the introduction finishes and Ole dies, I just can't get into it.

[cakefactory]

Originally Posted by pedromvu

Colonel Blimp is definitely a movie that started to grow on me with time as i was watching it and even on the next few days, as opposed to Black Narcissus which grabbed me from the start, so i can see how someone can be bored a bit by the first half or so hour and never completely recuperate, for me it started working from around the sword duel on-wards, and knowing what to expect from the beginning i am sure i will enjoy it even more on my next watch.

The first time I ever watched Colonel Blimp I immediately thought it was the best Criterion collection movie I'd ever seen with the possible exception of Paris, Texas. I loved it utterly. The feeling I got when it entered the final act was incredible. That movie more than deserves its status, I think it's probably my single favorite movie made before the 70s.

[kuro_sawa]

Originally Posted by The Great Owl

When it comes to film noir movies starring Burt Lancaster, my top pick goes to Criss Cross. It's such a dark flick that you won't be the same after you see it. I really wish that Criterion would pick that one up as a title.

That's a great film. I think it's overlooked really, though Kate Buford covers it in her book about Lancaster "An American Life" and also mentions it as one of her favourite noirs in her interview on the Arrow blu of Brute Force.

Originally Posted by CriterionBlues

The one issue with The Killers is that opening scene is tonally so much different than the rest of the movie. From what I understand, it was more like the Hemingway novel. That makes sense since Siegel was a more direct adaptation, just not as well done, and it focused on the actual killers. I'd say Siodmak's version was groundbreaking with its use of flashbacks, but I won't disagree that it went overboard.

I like the film quite a bit, but wouldn't say I love it.

The Hemingway novel you're referring to is in fact a short story. The opening scene and the Swede being told the news is all that it entailed. That might be why there is a bit of a contrast to the rest of the film.

[oildude]

Originally Posted by Edward J Grug III

The correct answer is all of the P&P films in the Criterion Collection are amazing and you love them all.

If you got anything other than that, please rescreen the movie or movies until you are fixed.

If symptoms persist, please see a doctor.

(Peeping Tom didn't blow me away, but I liked it pretty well. I did love Powell's Edge of the World, available on blu ray from BFI)

So did I. The Edge of the World is actually my favorite Powell film, including the P&P ones. So simple yet powerful, and gorgeously shot in black and white.

For those who have not seen it, this 1937 gem is about the gradual depopulation of the outer Hebrides Islands off Scotland as younger generations move away, leaving the remaining inhabitants faced with stark choices concerning the future of their communities. Inspired by the actual evacuation of 36 final residents off St. Kilda in 1930, Powell constructs an intimate and compelling drama that resonates to this day. Since he could not get permission to bring his actors and crew to St. Kilda, he instead filmed on the island of Foula in the Shetlands, which is still populated, using a troupe of actors and actual local residents. In the film, the residents of a fictional community must decide whether to evacuate or struggle grimly on despite the certainty of eventual failure. Powell's story is well-acted and small scale enough to feel very personal as it portrays what is essentially a tragedy, yet it is one of the most grandly lyrical and lovely tragedies you will ever see. In its depiction of loss, both past and present, the film is a remarkable meditation on what it means to belong, to love a place, to cherish family and neighbors, and to reckon with the ending of a way of life.

The BFI restoration looks amazing. The cinematography is wonderfully atmospheric; the viewer is chilled with mists and rain while witnessing the bitter yet beautiful windswept moorlands and the perilously high cliffs plunging down to an ocean of thunderous surf. The small stone and turf village, flocks of nesting seabirds wheeling off the cliff face, and fishing boats plying the waters around the island complete the tableaux of a lonely outpost at the edge of the world.

It would make an outstanding Criterion release, but in the meantime the BFI is region free. It also includes a wonderful supplemental documentary about a return of several of the film's actors to Foula in the 1970s to see what has changed and how some of the locals who acted in the film are getting on.

[hoytereden]

Originally Posted by CriterionBlues

The one issue with The Killers is that opening scene is tonally so much different than the rest of the movie. From what I understand, it was more like the Hemingway novel. That makes sense since Siegel was a more direct adaptation, just not as well done, and it focused on the actual killers. I'd say Siodmak's version was groundbreaking with its use of flashbacks, but I won't disagree that it went overboard.

I like the film quite a bit, but wouldn't say I love it.

it's not that bad. Check out The Locket for an example of beating you to death with flashbacks.

I love The Killers as much for the supporting cast as anything else. People like Charles McGraw, William Conrad (the title characters), Jack Lambert, Jeff Corey, Albert Dekker, Sam Levine, etc. All pretty good noir players. Not a bad musical score either; you hear what would later morph into the iconic Dragnet theme playing in the beginning of the film.

[pedromvu]

Originally Posted by oildude

So did I. The Edge of the World is actually my favorite Powell film, including the P&P ones. So simple yet powerful, and gorgeously shot in black and white.

You convinced me, ordered , it was pretty cheap at base.com (around $12.5 shipped), at amazon UK too but the shipping costs are too high unless i order more titles.

not sure how those UK labels survive with such low prices.

[ravenus]

Apropos The Killers, the use of flashbacks is the pivot on which the picture runs, it is about unravelling the hows and whys of the incident that starts off the film. Would you complain about there being too many flashbacks in Rashomon?

[jrsl76]

Originally Posted by Edward J Grug III

The correct answer is all of the P&P films in the Criterion Collection are amazing and you love them all.

If you got anything other than that, please rescreen the movie or movies until you are fixed.

If symptoms persist, please see a doctor.

(Peeping Tom didn't blow me away, but I liked it pretty well. I did love Powell's Edge of the World, available on blu ray from BFI)

I really wish they'd hurray up and upgrade A Canterbury Tale and 49th Parallel. P&P and solo Powell are just so great.

[Sifox211]

Originally Posted by pedromvu

Colonel Blimp is definitely a movie that started to grow on me with time as i was watching it and even on the next few days...

For me it really clicked when I saw it in the cinema, in the new restoration. It's a film that really benefits from total immersion and no interruptions. (I suppose they all do really, but I find 3 hour films benefit from this more than shorter ones).

[easydreamer]

Originally Posted by ravenus

Apropos The Killers, the use of flashbacks is the pivot on which the picture runs, it is about unravelling the hows and whys of the incident that starts off the film. Would you complain about there being too many flashbacks in Rashomon?

Citizen Kane also has the same structure

[adamhopelies]

Originally Posted by mrjohnnyb

The following excerpt is from Carlotta Films US Newsletter:


Finally, we are absolutely thrilled to announce a huge event from Carlotta Films US with the release of Jacques RIVETTE'S French New Wave masterpiece: OUT 1. For the first time ever, on DCP and in a glorious new 2K restoration. A cinematic adventure and journey will take place at the end of this year for the first time in the US on such a grand scale... Stay tuned for more...

Fantastic news. Thanks for the heads up.

EDIT. Found this poster for the project from Carlotta's French team. "Event of the year" comes to mind.

[CriterionBlues]

Originally Posted by ravenus

Apropos The Killers, the use of flashbacks is the pivot on which the picture runs, it is about unravelling the hows and whys of the incident that starts off the film. Would you complain about there being too many flashbacks in Rashomon?

I don't think you can compare the two. Rashomon uses flashbacks to see different perspectives and their narrative unreliability. Someone mentioned Citizen Kane, but that was groundbreaking in every sense of the word. The flashbacks developed the character and they were all fascinating. Aside from the terrific opening, The Killers was at its best when Lancaster was on screen, but the flashbacks took a lot of attention away from him. At times, for me at least, they become less interesting as the film goes on.

All this aside, I'm not arguing against the film, which I really like and understand that people can love. I may appreciate it more after revisiting through the Criterion upgrade.

[SlickDamian]

I appreciate pro-b's reviews, however isn't it time to update the part where it says "the content can be unlocked by a PS3" or whatever? With all of the players, including PS4, Xbox One, etc isn't this a bit outdated? Also, what is an SA? Been wondering this for a while.

[octagon]

Originally Posted by SlickDamian

I appreciate pro-b's reviews, however isn't it time to update the part where it says "the content can be unlocked by a PS3" or whatever? With all of the players, including PS4, Xbox One, etc isn't this a bit outdated? Also, what is an SA? Been wondering this for a while.

I'm guessing SA means 'standalone' as in a BD player that's not also a gaming system.

[jmclick]

Originally Posted by hoytereden

it's not that bad. Check out The Locket for an example of beating you to death with flashbacks.

I love The Killers as much for the supporting cast as anything else. People like Charles McGraw, William Conrad (the title characters), Jack Lambert, Jeff Corey, Albert Dekker, Sam Levine, etc. All pretty good noir players. Not a bad musical score either; you hear what would later morph into the iconic Dragnet theme playing in the beginning of the film.

I had to laugh when I read your comment about The Locket. What, you didn't like the flashback-within-a-flashback-within-a-flashback structure? Actually, I have to admit ... I've tried to watch it on TCM two or three times, and the bad picture quality of their print coupled with the confusing narrative left me shaking my head in befuddlement. A shame, because I usually enjoy Robert Mitchum and Brian Aherne, and I couldn't focus on either one of them.

You're also right on target regarding the supporting cast of The Killers. Of course the first time I saw it I was startled to see "Mrs. Olsen, the Folger's coffee lady", Virginia Christine; I hadn't realized she had a career before appearing in all those TV commercials. It was neat to see her pop up in the 1964 remake of The Killers, too.

[shadedpain4]

Count me as another order for Edge Of The World. Got to love Base.com. Cheap prices, reasonable single item shipping to the states, and Vat removal.

[Fabs]

Originally Posted by ravenus

Apropos The Killers, the use of flashbacks is the pivot on which the picture runs, it is about unravelling the hows and whys of the incident that starts off the film. Would you complain about there being too many flashbacks in Rashomon?

While I love how Rashomon looks, it's one of my least favorite Kurosawa films. I find that every time I revisit it, the repetitiveness of it all just makes me like it even less each time. Sure, the flashbacks are the point. They show the different perspectives. Yet, at the same time, the story portrayed in the flashback isn't at all interesting to me. So, seeing it 4 or so times just makes me lose interest in the film.

[CriterionBlues]

Originally Posted by Fabs

While I love how Rashomon looks, it's one of my least favorite Kurosawa films. I find that every time I revisit it, the repetitiveness of it all just makes me like it even less each time. Sure, the flashbacks are the point. They show the different perspectives. Yet, at the same time, the story portrayed in the flashback isn't at all interesting to me. So, seeing it 4 or so times just makes me lose interest in the film.

I've found that it doesn't hold up to repeat viewings like other Kurosawa films, and the direct remakes have not been too good either. But it was influential as a way of using unreliable narrators. I think Gone Girl did a pretty good job of borrowing from Rashomon. Courage Under Fire, not so much.

[MifuneFan]

Sorry if this was brought up already, but memberrezpekt pointed out that the clue for Ride the Pink Horse was a double clue for Black Stallion too. I think we all assumed it was just for the former since Fox had already released the latter.




He commented on this in my Tree of Life thread to show that Criterion does double clues with newsletter hints too. Keep hope alive