The Criterion Collection

[The Great Owl]

Originally Posted by AaronJ

I'm taking a short break, then I'm going to finish off Antonioni's "Trilogy of Alienation" with L'Eclisse and La Notte tonight/this morning. I think that's probably the best way to view the films, but obviously not everyone is up for that as it amounts to about six-and-a-half hours of somewhat different cinema.

You could even make a "Tetralogy of Alienation" by watching L'Avventura, La Notte, L'Eclisse, and Red Desert. I myself might watch all four of them someday soon.

I still think, however, that L'Eclisse should immediately followed by The Last Man on Earth (1964), because I love how the second film changes the meaning of the first.

[deepbreathsanddeath]

Originally Posted by The Great Owl

You could even make a "Tetralogy of Alienation" by watching L'Avventura, La Notte, L'Eclisse, and Red Desert. I myself might watch all four of them someday soon.

I still think, however, that L'Eclisse should immediately followed by The Last Man on Earth (1964), because I love how the second film changes the meaning of the first.

So, would you consider Invasion of the Body Snatchers (1955), L'Eclisse and The Last Man on Earth (1964) to be a good triple feature?

[The Great Owl]

Originally Posted by deepbreathsanddeath

So, would you consider Invasion of the Body Snatchers (1955), L'Eclisse and The Last Man on Earth (1964) to be a good triple feature?

I wote in my User Review of L'Eclisse that it's easy to imagine that this film takes place after the events in Invasion of the Body Snatchers (1956), and that all of Antonioni's characters are simply pod people who are going through the motions of interaction, but are unsure of what to do with themselves now that they've taken over the Earth.

In that sense, it would be a trip to watch all three movies in their order of release.

I suspect that Antonioni fans will be upset at me for ruining this movie for them forever after, but that's okay.

[spargs]

Originally Posted by MifuneFan

If it is Ride the Pink Horse (which seems very likely), that would be 2 film noirs in a row from the Criterion Newsletter. Last month's being "Odd Man Out". Maybe a noir boxset is coming from them

I've honestly never heard of the film before the newsletter clue arrived yesterday. Had to do some reading. While I don't see it listed anywhere as one of the more important or notable noirs, consider me intrigued, as more film noir on Criterion is a good thing!

[AaronJ]

Originally Posted by The Great Owl

I wote in my User Review of L'Eclisse that it's easy to imagine that this film takes place after the events in Invasion of the Body Snatchers (1956), and that all of Antonioni's characters are simply pod people who are going through the motions of interaction, but are unsure of what to do with themselves now that they've taken over the Earth.

In that sense, it would be a trip to watch all three movies in their order of release.

I suspect that Antonioni fans will be upset at me for ruining this movie for them forever after, but that's okay.

You are a twisted dude.

But not upset. I do, however, grab your idea of Red Desert. That's a different film, though. Hmm.

[adamhopelies]

Originally Posted by The Great Owl

I wote in my User Review of L'Eclisse that it's easy to imagine that this film takes place after the events in Invasion of the Body Snatchers (1956), and that all of Antonioni's characters are simply pod people who are going through the motions of interaction, but are unsure of what to do with themselves now that they've taken over the Earth.

In that sense, it would be a trip to watch all three movies in their order of release.

I suspect that Antonioni fans will be upset at me for ruining this movie for them forever after, but that's okay.

I went in to Red Desert (several years ago) under the impression that it was a dystopian drama! I think that stands actually.

[The Great Owl]

Red Desert does have a distinct dystopian future feel to it. Those people aren't right and that world is not right.

It's one of the greatest films ever made in terms of the use of color.

By the way, all of you need to be sure to buy the Kino Lorber Blu-ray of River's Edge in January so that you can watch it as a double feature with L'Avventura. These two films share a similar vibe about boredom and about responses to those missing in our lives.

[ZoetMB]

There's an article in the NYTimes today about Criterion's coffee table book, "Criterion Designs" featuring the covers of every release for which they've commissioned a cover design. According to the article, the first 5000 copy run is already sold out (at $100 each), but they're going to do a second printing.

I think it's pretty impressive that they've managed to sell such a tome so successfully, since my bet is that most of the purchasers probably own a fair percentage of those titles already, and therefore already have the graphics.

Article here (might be a paywall):
http://tmagazine.blogs.nytimes.com/2...=43922971&_r=5

[Helikaon]

Originally Posted by ZoetMB

There's an article in the NYTimes today about Criterion's coffee table book, "Criterion Designs" featuring the covers of every release for which they've commissioned a cover design. According to the article, the first 5000 copy run is already sold out (at $100 each), but they're going to do a second printing.

I think it's pretty impressive that they've managed to sell such a tome so successfully, since my bet is that most of the purchasers probably own a fair percentage of those titles already, and therefore already have the graphics.

Article here (might be a paywall):
http://tmagazine.blogs.nytimes.com/2...=43922971&_r=5

I'm going to pass on the book, but whenever Criterion decides to sell their designs as posters I'm going to throw a lot of money at them.

[shadedpain4]

Originally Posted by ZoetMB

There's an article in the NYTimes today about Criterion's coffee table book, "Criterion Designs" featuring the covers of every release for which they've commissioned a cover design. According to the article, the first 5000 copy run is already sold out (at $100 each), but they're going to do a second printing.

I think it's pretty impressive that they've managed to sell such a tome so successfully, since my bet is that most of the purchasers probably own a fair percentage of those titles already, and therefore already have the graphics.

Article here (might be a paywall):
http://tmagazine.blogs.nytimes.com/2...=43922971&_r=5

I believe a number of the images in the book are pieces that were not used in actual releases.

[lordmorpheus72]

Originally Posted by The Great Owl

Awesome. I'm going to watch L'Avventura in a few days.

I would watch it tomorrow night, but tradition dictates that I revisit Planes, Trains and Automobiles on the eve of Thanksgiving each year.

Glad I'm not the only one who watches this every year. I watch it first thing Thanksgiving morning.

[lordmorpheus72]

Originally Posted by The Great Owl

Red Desert does have a distinct dystopian future feel to it. Those people aren't right and that world is not right.

It's one of the greatest films ever made in terms of the use of color.

By the way, all of you need to be sure to buy the Kino Lorber Blu-ray of River's Edge in January so that you can watch it as a double feature with L'Avventura. These two films share a similar vibe about boredom and about responses to those missing in our lives.

Thanks for the heads up on doing a double feature of these two films. I'll have to add River's Edge to my wish list.

[TJS_Blu]

Originally Posted by spargs

I've honestly never heard of the film before the newsletter clue arrived yesterday. Had to do some reading. While I don't see it listed anywhere as one of the more important or notable noirs, consider me intrigued, as more film noir on Criterion is a good thing!

Ride the Pink Horse was a bit of a head scratcher for me. I've never seen the film, but have known about it for a while; never motivated enough to TiVO it from TCM. The novel was written by Dorothy B Hughes who also wrote 'In A Lonely Place" which is pretty high on some folks' wish list. I didn't realize it has script by Ben Hecht. The DoP was Russell Metty who won an Oscar for Cinematography for Spartacas (he had over 130 credits for cinematography).

[prior]

Do you guys have any suggestion in terms of Criterion films with underlying abstract or philosophical themes that challenge you intellectually as well as emotionally, maybe concerning a moral dilemma and playing largely in one room/dialog driven/with only a limited ensemble cast?

Films I love are

12 Angry Men,
Anatomy of a Murder,
Sweet Smell of Success,
On the Waterfront,
Black Narcissus,
Seconds.

Non-Criterions would be

Inherit the Wind,
The Night of the Iguana,
Suddenly, Last Summer,
The White Ribbon.

I'd like to have more of that kind (if you consider all of the above mentioned of one kind). Thanks for any help.

[captveg]

High and Low (though it shifts from the one room halfway through)

[SammyJankis]

Originally Posted by prior

Do you guys have any suggestion in terms of Criterion films with underlying abstract or philosophical themes that challenge you intellectually as well as emotionally, maybe concerning a moral dilemma and playing largely in one room/dialog driven/with only a limited ensemble cast?

Films I love are

12 Angry Men,
Anatomy of a Murder,
Sweet Smell of Success,
On the Waterfront,
Black Narcissus,
Seconds.

Non-Criterions would be

Inherit the Wind,
The Night of the Iguana,
Suddenly, Last Summer,
The White Ribbon.

I'd like to have more of that kind (if you consider all of the above mentioned of one kind). Thanks for any help.

The Dardenne's films fit the moral dilemma bill. They pretty much specialize in that. Their films don't take place in one location, really, but they generally take place in a short period of time. Often centered on only a couple of people and it relies on both visuals/dialogue.

If you wanna stick with Criterion, I'd say go with Rosetta and La Promesse (The Kid With a Bike is just as great, but it doesn't exactly give you a taste of what their aesthetic is like.) If you want to stray outside of Criterion, go with The Son. It's a must.

[RiderNation]

I treated myself and ordered King of the Hill/The Underneath and The Killing/Killer's Kiss via B&N's Criterion sale--4 films for $40 USD is a good deal (The temptation to buy blu-rays during American Thanksgiving sales is difficult to resist!). I've seen all of the Kubrick films save for these two and Fear and Desire, so I'm excited to view them, whenever they arrive (hopefully before 2015)! I know that Soderbergh isn't fond of The Underneath, but kudos to him for participating in Criterion's supplementary features--even filmmakers' failures can be fascinating to watch and analyze!

[nondiatonic]

Originally Posted by Helikaon

I'm going to pass on the book, but whenever Criterion decides to sell their designs as posters I'm going to throw a lot of money at them.

Most definately. There would be no paint visible on any of my walls.

[jmclick]

All this fascinating talk about film noir and the Criterion Collection has, once again, called to mind my all-time fantasy release, one that will never happen. It would be a super deluxe edition of Otto Preminger's Laura (1944) with Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price and Judith Anderson.

Of course this masterpiece is already available on blu-ray from Fox, but what would distinguish my dream version would be the wealth of supplemental materials that Criterion would assemble. First up would be the mediocre 1955 television adaptation that starred Dana Wynter, Robert Stack, and George Sanders. Next would be the gawdawful 1968 TV Movie adaptation which featured Lee Radziwell, Stack, Sanders, and Farley Granger.

Of course the theatrical trailer would be included, but then would come the pièces de résistance! First would be all the discarded footage directed by Rouben Mamoulian. You can see little glimpses of some of these scenes in the re-release trailer, easily identified by the ugly costumes that Preminger tossed out when he re-shot the film (examples: the hideous dress that Judith Anderson is wearing in her first scene, and the ugly hat perched on Gene Tierney in the cigarette case sequence). Then would follow all the many deleted sequences, including the one of Andrews, Webb and Price in a stadium; the party scene with Price playing the piano, surrounded by a bevy of admirers; the scene on Webb's patio between he and Miss Tierney, etc., etc. And then, finally, would come the alternate ending that Darryl Zanuck demanded be shot against Preminger's wishes, and which was finally discarded. I have stills from it in my collection, and would love to see how it might have played out.

Well, it will never happen in this lifetime, but when I get to that big screening room in the sky where every lost film has been found, restored and is available in a Criterion edition, this will be the first one I watch! Anyone's welcome to screen it with me ... they'll be plenty of popcorn to go around!

[octagon]

Originally Posted by prior

Do you guys have any suggestion in terms of Criterion films with underlying abstract or philosophical themes that challenge you intellectually as well as emotionally, maybe concerning a moral dilemma and playing largely in one room/dialog driven/with only a limited ensemble cast?

It sounds like you're reading the Insignificance press packet