The Criterion Collection

[bwdowiak]

Originally Posted by filmmusic

I LOVED Paris, Texas and honestly I thought before seeing it that i would be bored.
Although part of my love was due to the suspense about what had happened.
I'm not sure how it will hold-up in a 2nd viewing..
However I'll buy it in the upcoming sale. (hope it's the 2nd pressing or something).

The thing that spoiled the film though for me was that harsh guitar music right at the climax of the film!
I was about to cry, and that "killed" it!
(i'm versy sensitive in film music matters, as my username also suggests )

I recall feeling that the music was extremely wrong for the film, too, although I also really liked Paris, Texas.

[filmmusic]

Originally Posted by bwdowiak

I recall feeling that the music was extremely wrong for the film, too, although I also really liked Paris, Texas.

I had only problem with that spot.
The rest was OK.

By the way, I remember buying the soundtrack in my teens (without having seen the movie of course) after reading a review in a magazine that it (the music) was a masterpiece.
When i listened to it I was so much disappointed as I was (and am) a lover of the traditional symphonic film music.
It was the only soundtrack I left in my parents' house when I left at 18 years old, and just recently (in my 35) I got it back (after seeing the movie )
Now that I feel I have a more open mind, I can understand its appeal.

[prior]

This discussion has expanded and moved into quite a different direction.

The OP said he/she just didn't find Tati any fun to watch. Someone suggested he/she might learn more about Tati's work to be able to appreciate it more. I believe that humour is such an emotional thing that no explanation of the underlying intentions or structure can change if you find anything laugh out lout funny or even remotely amusing.

Now, film appreciation in general, that's a totally different thing. Viewing experience sure can develop and change over time with more background information, commentary tracks etc. from 'don't get it' to 'love it dearly'.

[bwdowiak]

Originally Posted by filmmusic

I had only problem with that spot.
The rest was OK.

By the way, I remember buying the soundtrack in my teens (without having seen the movie of course) after reading a review in a magazine that it (the music) was a masterpiece.
When i listened to it I was so much disappointed as I was (and am) a lover of the traditional symphonic film music.
It was the only soundtrack I left in my parents' house when I left at 18 years old, and just recently (in my 35) I got it back (after seeing the movie )
Now that I feel I have a more open mind, I can understand its appeal.

a masterpiece? really? I'll listen more carefully next time. all I can recall is some obnoxious slide guitar that seemed to have been mixed too high on the Blu-ray.

[filmmusic]

Originally Posted by bwdowiak

a masterpiece? really? I'll listen more carefully next time. all I can recall is some obnoxious slide guitar that seemed to have been mixed too high on the Blu-ray.

Well, judging by musical terms, it's quite sophisticated indeed.
By the way, funny thing:
I had first heard the Paris Texas music theme (before even listening to the soundtrack and know that it's the Paris Texas theme), in an AXE commercial on Greek TV!
(actually the commercial must have been a foreign production - I mean, not Greek)

(Sorry for the off topic everyone)

[Reddington]

Originally Posted by filmmusic

Well, I can describe 2 instances where I changed completely my opinion:

1) 2001- A space Odyssey
I tried to watch it at 18. Was very bored and fast forwarded.
Watched it again at 30-31. (on bluray).
Understood that it was indeed a masterpiece. Loved it and I have to say I was on the edge of my seat in many scenes.

2) The Thin Red Line
Watched it at 18 at the cinema. Was bored..
Watched it again 2-3 years later alone on DVD.
Recognised the masterful direction, and technical excellency mostly (music, cinematography etc.). Of course I was moved too but not quite deeply.
Watched it again some 1-2 years ago (at 33-34), and was a total reck psychologically in the end.

Originally Posted by Yami

Just last night I changed my opinion on Spielberg's Jurassic Park. When I was younger, I didn't see it as anything but a showcase for CGI dinosaurs but now I see Spielberg's mastery of the set piece and the way that he brilliantly orchestrates tension.

Like all art, I think your opinion depends on a film depends on context. By which I mean your own personal situation - where you are in your life - and therefore your opinion can change.

Originally Posted by Sifox211

[*]While I understand what you're saying, I don't think it is necessarily so clear cut. Think of a music album that you love but hated on the first listen - I know for me there are plenty of those!

All good points well made that I equate with a change based on learning though one's own experiences. My comment was a further response to the idea that one should turn to disc supplements "to get an insight into how you should be watching" (a Tati comedy) - i.e., being instructed how to learn to like a film.

Anyway, probably straying from the path here. So, off to B&N soon to use my new 20% coupon in the 40% sale for a yet-to-be decided Criterion BD.

[BuckNaked2k]

Wow, this thread moves fast...

Originally Posted by Sifox211

If I may quote a post from the MK thread, thanks to tehdudee:


What happend to Eric Anderson? It was a bummer he didn't do Fantastic Fox when he was a star in it! And Moonrise had such amazing artwork.


That is just so nice - I'd rather have that than the one that's on offer!

Much to my surprise, that composition isn't by Eric Anderson. If you look on the left side, you can see the artist's name, "Tomine".

Originally Posted by adamhopelies

Eric Anderson didn't do the artwork for Fantastic Mr. Fox or Bottle Rocket either. It's a shame, as it breaks the continuity of the series, though I do like the artwork that has been used on all of these releases.

Color me surprised on Bottle Rocket. I sure did think that was Eric's hand, but there it is on the back, "Original artwork by Ian Dingman".

[Polaroid]

Eric Anderson's artwork is nice and I love that it wa included in the Criterion releases (especially the stuff in the booklets and maps!) but it did get a bit umm stale? I think its refreshing seeing new designers tackle Anderson's films

[adamhopelies]

Originally Posted by BuckNaked2k

Much to my surprise, that composition isn't by Eric Anderson. If you look on the left side, you can see the artist's name, "Tomine".

Yeah, that's Adrian Tomine, who's a pretty famous illustrator. He has actually worked with Criterion in the past.

[Polaroid]

So when are we getting Criterion Designs 2 first one is missing so many great designs I'm too eager haha.

[silverlakephil]

Originally Posted by iScottie

I love the idea behind Wings of Desire, but my first viewing left me cold and disinterested. I really need to get around to giving it another chance.

I was hooked when I first saw it in the theater and it's probably my 2nd favorite Criterion release. That said, I'm trying to get through my 2nd Ozu film Late Spring and lost some interest. I'll pick up where I left off and maybe finish it later. Funny, the Wim Wenders documentary on the supplementals section held my interest more.

[WonderWeasel]

If anyone isn't a Barnes and Noble member, or has already used their 20% off coupons, there is a 15% off any one item coupon available until 6/21:

http://www.coupons.com/coupon-codes/barnesandnoble.com/

[BuckNaked2k]

Originally Posted by WonderWeasel

If anyone isn't a Barnes and Noble member, or has already used their 20% off coupons, there is a 15% off any one item coupon available until 6/21:

http://www.coupons.com/coupon-codes/barnesandnoble.com/

Thanks, but I think most of us are keeping our powder dry until 7/9.

[WonderWeasel]

Originally Posted by hariseldon

That appears to be a single use coupon so I'd be a little worried about handing that to a clerk and having it ring up Already Used.
It's also in store only. There aren't really any online codes to use right now

For those that need extras and don't want to wait until July however, just PM me and let me know what you can use

I'm going to test it out tonight. I'll let you know if it's good or not.

[diskspinner]

Originally Posted by BuckNaked2k

Thanks, but I think most of us are keeping our powder dry until 7/9.

so 50% off sale is starting on 7/7 this year?
Last year it started a week earlier...

[Polaroid]

Wish people would spoiler tag ANY sale talk....

Can't stand seeing all the talk of sales and I have no access to them booooo!

[Clare2904]

Originally Posted by Polaroid

Wish people would spoiler tag ANY sale talk....

Can't stand seeing all the talk of sales and I have no access to them booooo!

SaleSale50%Sale50%SaleBargainBarnes&NobleSaleSale5 0%CriterionSaleDVDBluRaySaleSale50%SaleBuyBuyBuySa leSale50%SaleSaleBargainBarnes&NobleSaleSale50%Cri terionSaleDVD50%BluRaySaleSale50%SaleBuyBuyBuy

[shadedpain4]

Originally Posted by silverlakephil

I was hooked when I first saw it in the theater and it's probably my 2nd favorite Criterion release. That said, I'm trying to get through my 2nd Ozu film Late Spring and lost some interest. I'll pick up where I left off and maybe finish it later. Funny, the Wim Wenders documentary on the supplementals section held my interest more.

I always love to see the different ways the same film hits different people. I could watch Late Spring every week and never tire of it.

[jayembee]

Originally Posted by jw007

And my ignorance even shows more... that I still don't know enough about Australian films...and that Breaker Morant is one of the greatest films from Australia. And here I thought Picnic at Hanging Rock and Peter Weir were Australia's finest. Hello Bruce Beresford.

I'd say that Peter Weir is still Australia's top filmmaker. Beresford is up there, but for my money, Weir's two biggest rivals are Paul Cox and John Duigan. Others worth looking at are Gillian Armstrong, Philip Noyce, and Simon Wincer.

[jayembee]

Originally Posted by malakaheso

They are both pretty ordinary directors that made a couple of good films imo, but even their best Australian films still have that mannered kind of style to them that really bothers me about Anglo-art films or 'period' dramas, especially from that period.

I can almost buy an argument of Beresford being "ordinary", because while I've enjoyed a great many of his films, there are only a few that seem extraordinary to me. But Peter Weir? He is one of my favorite directors, period. Out of his 14 feature films, there are maybe 4 that I find less than extraordinary.

I'm surprised that anyone, anywhere, could be really into Australian cinema, but kudos to you I suppose.

The Australian New Wave was an exciting time for cinema. My intro to it was, not surprisingly, Miller's Mad Max films, and some of Weir's early films. But what cemented my attention was a confluence of titles seen on cable (Beresford's The Getting of Wisdom and Armstrong's My Brilliant Career) and used movie that I managed to pick up from a video store selling off its Betamax stock: Tom Jeffrey's Weekend of Shadows.

There's actually quite a bit to like in Aussie cinema.