The Criterion Collection

[Brad1963]

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This showed up in the mail today. I'm watching it tonight.

[AaronJ]

Originally Posted by Brad1963

Attachment 141314

This showed up in the mail today. I'm watching it tonight.

I can't believe I'm admitting this, but I've never seen it.

[Nuck Horris]

Originally Posted by jw007

I agree. It's her magnum opus.

If Paul Verhoeven can have one of his films in the collection, and William Greaves can have one of his films in the collection, and Erik Skjoldbjærg can have one of his films in the collection, and Kevin Smith can have one of his films in the collection, and Spike Lee can have one of his films in the collection, and Neil Jordan can have one of his films in the collection, and George Sluizer can have one of his films in the collection, and David Gordon Green can have one of his films in the collection, and Lasse Hallström can have one of his films in the collection, and Sam Peckinpah can have one of his films in the collection, and Catherine Breillat can have one of her films in the collection, and Jack Woods can have one of his films in the collection, and Lodge Kerrigan can have one of his films in the collection, and Allison Anders can have one of her films in the collection, and Mathieu Kassovitz can have one of his films in the collection, Stuart Cooper can have one of his films in the collection, and Byron Haskin can have one of his films in the collection, and Cornel Wilde can have one of his films in the collection, and Paul Schrader can have one of his films in the collection, and Milcho Manchevski can have one of his films in the collection, and Claude Jutra can have one of his films in the collection, and Martin Ritt can have one of his films in the collection, and Gregory Nava can have one of his films in the collection, and Peter Yates can have one of his films in the collection, and Mira Nair can have one of her films in the collection, and Matteo Garrone can have one of his films in the collection, and Michael Ritchie can have one of his films in the collection, and Götz Spielmann can have one of his films in the collection, and Steve McQueen can have one of his films in the collection, and Henry Jaglom can have one of his films in the collection, and James L. Brooks can have one of his films in the collection, and Andrea Arnold can have one of her films in the collection, and Claire Denis can have one of her films in the collection, and Ken Loach can have one of his films in the collection, and Todd Solondz can have one of his films in the collection, and Lena Dunham can have one of her films in the collection, and Otto Preminger can have one of his films in the collection, and Hal Ashby can have one of his films in the collection, and Robert M. Young can have one of his films in the collection, and Danny Boyle can have one of his films in the collection, and Andrew Haigh can have one of his films in the collection, and Franc Roddam can have one of his films in the collection, and Paul Bartel can have one of his films in the collection, and Joshua Marston can have one of his films in the collection, and Michael Cimino can have one of his films in the collection, and Christopher Nolan can have one of his films in the collection, and Elia Kazan can have one of his films in the collection, and Gabriel Axel can have one of his films in the collection, and Michael Mann can have one of his films in the collection, and Terence Davies can have one of his films in the collection, and Lawrence Kasdan can have one of his films in the collection, and Pedro Almodóvar can have one of his films in the collection, and Bob Fosse can have one of his films in the collection, and Frank Capra can have one of his films in the collection, and Sydney Pollack can have one of his films in the collection, and Todd Haynes can have one of his films in the collection, and Martin Rosen can have one of his films in the collection, and Mark Rydell can have one of his films in the collection, and Carroll Ballard can have one of his films in the collection, and Michael Haneke can have one of his films in the collection, and Takashi Murakami can have one of his films in the collection, and Howard Brookner can have one of his films in the collection, and Joel and Ethan Coen can have one of their films in the collection, and Mike Nichols can have one of his films in the collection, and Christian Petzold can have one of his films in the collection, and Arthur Hiller can have one of his films in the collection, and King Hu can have one of his films in the collection...

...then Sofia Coppola can have one of her films in the collection!

No, she can't.

[AaronJ]

Originally Posted by Nuck Horris

No, she can't.

Why, exactly?

[theater dreamer]

I think Lost in Translation is a brilliant character study; a great film about how people from different generations, with literally nothing in common, can find each other in a foreign place, and develop the deepest of human connections. That's what life is all about.

[Show spoiler]I found it very refreshing that Sofia's script didn't succumb to the generic narrative that most often rears its ugly head in films today. They didn't just jump in bed together--well, they did, but they slept besides each other, completely comfortable just talking, and falling asleep without taking it further. Charlotte showed a maturity beyond her years, and it's clear that by the middle of the film, she understands that she's in a relationship that cannot last. Her husband, and her husband's friends, are completely superficial. To me, they were representative of the generic characters that have infected modern cinema. I thought Scarlett Johansson gave quite a good performance, especially when you consider she was only nineteen when the film was shot. But it's clearly Bill Murray's film. He shows once again what a rare talent he is. I'd love to see him do more great dramatic work.

By the way, has any film ever had a greater beginning and ending? The opening shot of Scarlett's glorious derriere, and the final scene, where Bob spots Charlotte from the taxi, and works his way through the crowd to say goodbye to her.

I'd double dip to buy a Criterion release in a heartbeat.

[Brad1963]

Originally Posted by AaronJ

I can't believe I'm admitting this, but I've never seen it.

It is quite good. Very complex and not what you would probably expect it to be. It is Noir, but it is a Thriller, it is a psychological drama, and is also a statement on Hollywood at the time. Superb performance by Bogart. It's a film worth checking and demands multiple viewings.

[Page14]

I haven't been able to follow this thread as closely as I would like to, so I hope I'm not double-posting something. But if anybody is interested in an article and a couple video clips of Anna Karina's appearance at the TCM Film Festival on April 30th, they can be found here:

https://moviemaniamadness.wordpress....-of-outsiders/

Good stuff.

[jw007]

Originally Posted by bwdowiak

I realize that you're just having fun with this post, but there are quite a few names on this list whose cinematic achievements trounce those of Sofia Coppola.

just sayin'...

Yeah, I realize that. There's no comparing any of these great directors to Ms. Coppola. But myself and a few other people agree with me that Lost in Translation is a cathartic film, and even if you think she doesn't deserve recognition for this great movie, in the words of the Dude: "Yeah, well, you know, that's just, like, your opinion, man".

Originally Posted by Snicket

Such a waste of words.

Not really. It took me a bit over an hour compiling that block paragraph of directors who only have 1 film in the Criterion Collection. I prob. missed a few but you can feel free to reference that posting in case you want to know the facts.

Originally Posted by theater dreamer

I think Lost in Translation is a brilliant character study; a great film about how people from different generations, with literally nothing in common, can find each other in a foreign place, and develop the deepest of human connections. That's what life is all about.

[Show spoiler]I found it very refreshing that Sofia's script didn't succumb to the generic narrative that most often rears its ugly head in films today. They didn't just jump in bed together--well, they did, but they slept besides each other, completely comfortable just talking, and falling asleep without taking it further. Charlotte showed a maturity beyond her years, and it's clear that by the middle of the film, she understands that she's in a relationship that cannot last. Her husband, and her husband's friends, are completely superficial. To me, they were representative of the generic characters that have infected modern cinema. I thought Scarlett Johansson gave quite a good performance, especially when you consider she was only nineteen when the film was shot. But it's clearly Bill Murray's film. He shows once again what a rare talent he is. I'd love to see him do more great dramatic work.

By the way, has any film ever had a greater beginning and ending? The opening shot of Scarlett's glorious derriere, and the final scene, where Bob spots Charlotte from the taxi, and works his way through the crowd to say goodbye to her.

I'd double dip to buy a Criterion release in a heartbeat.

Thanks, great post man. I think this is a special film, and I'll never let anyone convince me otherwise, no matter what people say. I love this film, and I'm glad you do too.

[mja345]

"Lost in Translation" is a beautiful film. It's fantastic to watch with someone you really care about. I've watched it with my girlfriend 3 or 4 times. I've even watched it with my mom a few times. It just gives you a special feeling inside. I love when the Jesus and Mary Chain's "Just Like Honey" kicks in at the end. I have the DVD, for some reason I still haven't upgraded it (maybe hoping for a Criterion) and I've probably watched it 15-20 times.

https://www.youtube.com/watch?v=7EgB__YratE

[jw007]

Originally Posted by mja345

"Lost in Translation" is a beautiful film. It's fantastic to watch with someone you really care about. I've watched it with my girlfriend 3 or 4 times. I've even watched it with my mom a few times. It just gives you a special feeling inside. I love when the Jesus and Mary Chain's "Just Like Honey" kicks in at the end. I have the DVD, for some reason I still haven't upgraded it (maybe hoping for a Criterion) and I've probably watched it 15-20 times.

https://www.youtube.com/watch?v=7EgB__YratE

I love the soundtrack to this film sir. It's one of my favorite soundtracks in my entire music collection (of almost 3,500 albums). JAMC's "Just Like Honey" is epic and used so well at the end of the film. Also, Kevin Shields did some great work here and I particularly love MBV's "Sometimes" featured prominently in the movie. I took my dad to see this film in 2003, and I also saw it with my very first long distance girlfriend (that didn't last too long unfortunately). There's something about the combination of music and visuals which takes me to another place and time.

My Bloody Valentine - Sometimes - YouTube

[theater dreamer]

Just Like Honey perfectly captured the mood I had at the end of the film the first time I saw it.

[Show spoiler]The line "walking back to you is the hardest thing that I can do" echoed the melancholy I felt at Bob and Charlotte's parting. In such a short amount of time, they'd established this incredible bond that is so rare in today's increasingly impersonal world, and it saddened me that they had to go back to their old, mundane lives. Bob's spirit had been reinvigorated by Charlotte, and Charlotte found in Bob someone who could relate to her on a deeper level. In other words, they'd both found what was lacking in their lives. Bob wasn't meant to spend his days sifting through wallpaper samples; Charlotte wasn't meant to spend her evenings trying to escape one mindless conversation after another. However, now that I know what Bob whispered in Charlotte's ear at the end of the film (a line that was ad libbed by Murray), I feel somewhat better. Yet, at the same time, I want to know what happens next.

Translation is effective on many levels. As I've already alluded, it's a deeply personal film, and, I think in a way, partially a commentary on what's coming out of Hollywood now. I find it interesting that all the other American characters that serve as background noise are so cliched. It's also a love letter, of sorts, to Tokyo, showcasing the clear dichotomy that exists: a struggle to find balance between the modern, and the old ways. One minute, Charlotte is lost amidst an endless sea of video games. The next, she is observing an ancient wedding procession. Japan, and Tokyo in particular, have always fascinated me, but after seeing this film, I wanted to go there more than ever. What a strange, yet beautiful, land.

Originally Posted by mja345

"Lost in Translation" is a beautiful film. It's fantastic to watch with someone you really care about. I've watched it with my girlfriend 3 or 4 times. I've even watched it with my mom a few times. It just gives you a special feeling inside. I love when the Jesus and Mary Chain's "Just Like Honey" kicks in at the end. I have the DVD, for some reason I still haven't upgraded it (maybe hoping for a Criterion) and I've probably watched it 15-20 times.

https://www.youtube.com/watch?v=7EgB__YratE

[pedromvu]

I seem to recall there was a rumor of Ghost World coming to the collection, just watched it for the first time and I thought it was really great, since there are two other films of Terry Zwigoff in the collection and this title is not from Warner I wonder if this is really coming.

BTW looks like this director disappeared suddenly, I remember enjoying his last movies, although not as much as this, too bad, I guess like with Lynch that's what happen when you don't play ball with Hollywood producers.

[AaronJ]

That was beautiful, man.

I finally watched Barbara tonight, and it deserves a spot in the Collection. Here's my short review from the "Name the last movie you watched ..." thread:

[Show spoiler]Barbara -- A

This is yet another Christian Petzold and Nina Hoss collaboration. I have only seen Phoenix otherwise. But so far, they are two for two.

Barbara takes place during 1980 in East Germany, and it's an incredibly oppressive film. It sits on you as a weight, not so much because of individual actions or occurrences, but because Petzold is so able to simple draw a picture of oppression through actors' expressions, musical choices, pacing, and repetitiveness.

Now as an American who has not only not experienced early-80s East German culture, but has never even been to Germany (though I have been to both Italy and France a few times), I am absolutely sure that much of the minute detail that would effect a German viewer flew right over my head. That being said, however, the film is almost rapturous in its crunching relentlessness.

Nina Hoss is quickly, and yes after only two films, becoming a favorite actress of mine. She can express more with a statuesque 20 second look than most actresses can in a 5 minute rant. And Roland Zehrfeld, who co-starred with Hoss in Phoenix as well, is spectacular here as the doctor who obviously has feelings for Barbara, but is an intellectual as well.

This is a film everyone should see.

I really need to see all of Petzold's films, and all of Hoss' films. They aren't easy to come across, though. I will continue my search, though. I'm very interested in seeing The State I Am In for sure. That sounds fascinating.

[AaronJ]

Originally Posted by pedromvu

I seem to recall there was a rumor of Ghost World coming to the collection, just watched it for the first time and I thought it was really great, since there are two other films of Terry Zwigoff in the collection and this title is not from Warner I wonder if this is really coming.

BTW looks like this director disappeared suddenly, I remember enjoying his last movies, although not as much as this, too bad, I guess like with Lynch that's what happen when you don't play ball with Hollywood producers.

Actually, I am SURE that they will put Ghost World in the collection, since I bought a German version not so long ago.

That almost ensures it.

But yes, it really is a good film.

[theater dreamer]

So, I just finished watching Au Revoir Les Enfants for the first time, and it was everything I'd hoped it would be, and more. An absolutely brilliant film by Louis Malle. And, the transfer utilized by Criterion is simply gorgeous!

[Show spoiler]I cannot imagine living in an occupied country during a time of war, especially as a child. How does one maintain a normal routine; how does one keep a sense of normalcy when at any minute, the air raid sirens can go off, and your home, your church, or your school can be destroyed by a bomb? How does a child listen to the bombs knowing one explosion might represent the death of a loved one?

The film starts innocuously enough; a mother bidding their young child adieu as he prepares to board a train to school. Children are playing, being children. A new student is introduced, and he endures the normal hazing that comes with being the new kid on the block. All along, the viewer knows the Germans are there; they lurk like a pestilence, just out of sight. Occasionally, you see them. You know that, at any minute, you could witness something terrible, and for the first half of the film, I felt this tension in my neck, half-expecting to see reality brutally intervene the same way that it always does in films about World War II, be it Saving Private Ryan, or The Pianist, The Great Escape, or Schindler's List. But Malle lures the viewer into a false sense of security. There are these wonderful moments of levity throughout the movie-kids enjoying Charlie Chaplin's The Immigrant, complete with live accompaniment. Julien's older brother purposely giving German soldiers bad directions. Things that kids do, no matter where they live, or when. But, as always, this quasi-safe harbor is shattered, and the end result is just heartbreaking. But, to me, it's how Malle handled the denouement that separates him from other filmmakers. Where others might opt for a more graphic ending, we ultimately learn the fates of those discovered by the Nazis in a voice over. And as Julien details their demise, and how it would continue to effect him for the next fifty years, all we see is the emotional turmoil written on his face as a child. We see tears slowly well in his eyes, as his innocence, and his childhood, end in one cruel twist.

[Al_The_Strange]

Had a strange nightmare where the Manchurian Candidate went OOP and Criterion's website was gone.

The next B&N sale can't get here fast enough.

[belcherman]

Originally Posted by Al_The_Strange

Had a strange nightmare where the Manchurian Candidate went OOP and Criterion's website was gone.

The next B&N sale can't get here fast enough.

Funny, I had a nightmare where B&N went out of business, and Criterion stopped having flash sales. I woke up in a cold sweat shouting "Retail! Retail!" Talk about staring into the abyss.

[The Great Owl]

In a Lonely Place takes the film noir genre into its darkest depths of bleakness, but the cast is so engaging that the movie never seems overbearing.

Humphrey Bogart plays Dixon Steele, a burned out screenwriter who has a quick temper and a propensity for violent and drunken brawls. The role is perfect for Bogart, whose real-life reputation as a hard-drinking actor casts an additional shadow on the fictional character. One can almost see the troubles of the entire world in Steele's stone face and his weatherbeaten gaze. All the while, though, Steele has a hypnotic charisma and a deep intellectual charm to him during his tender moments, and one can see why women find him fascinating. One particular sequence, where Steele improvises in a movie director role to re-enact a murder scene while the lighting focuses on his manically excited eyes, is one of cinema's greatest film noir moments.

The movie quickly establishes Steele's character during a brilliantly noir opening scene on a Los Angeles street intersection, where he starts to exit his car with intent for a physical altercation with another driver. From there, Steele goes to a local nightspot and returns home with the pretty Mildred Atkinson, played by Martha Stewart, so that she can summarize a novel that he plans to adapt into a script without actually reading. (This is one of many sly criticisms of Hollywood that show up in In a Lonely Place.) When Atkinson is found murdered the next day, Steele falls under suspicion of local authorities, but is temporarily cleared when a gorgeous neighbor, Laurel Gray, provides an alibi. One thing leads to another, so Steele and Gray quickly find themselves in the middle of a fervent love affair.

Gloria Grahame, in the role of Laurel Gray, is a revelation. The film never delves extensively into Gray's past, but we quickly gather that she has a track record for panicking and fleeing relationships. Gray takes on a sleeping pill habit and wrestles with uncertainty as she is drawn closer to Steele. Grahame owns the role, and exudes Gray's perfect combination of commanding beauty and deeper vulnerability.

These days, we are so conditioned to stories about Hollywood bad boys that we watch the romance between Bogart's Steele and Grahame's Gray with a "This will not end well." fatalism, but director Nicholas Ray, who tampered with the script up until the final moments of production, has something infinitely darker in mind that does not provide us with the standard closure that most movies give us, even when violence or murder enter the equation. In a Lonely Place is a film noir that plows into the recesses of the human psyche instead of relying on guns for the fireworks. Nicholas Ray's movies, namely Rebel Without a Cause and Bigger Than Life, have always shed light on outsiders, and In a Lonely Place proves to be his best film, because it gives us the flint-and-steel interactions of two outsiders, so to speak.

As much as Bogart and Grahame command well-deserved attention, they are given a run for their money by way of a strong supporting case. Frank Lovejoy, who also starred in The Hitch-Hiker and House of Wax, plays a police detective who has been a friend of Steele since their wartime days. Robert Warwick is amazing as Steele's washed-up actor friend. Art Smith is memorable as Steele's agent and confidant. Jeff Donnell, who also appears in Sweet Smell of Success, is beautiful as the wife of Lovejoy's detective character.

In terms of technical presentation, this Criterion Blu-ray sports a massive improvement over my previous DVD edition. The shadows and grey levels that give the film much of its visual strength during moments of ambiguity look near perfect.

The Blu-ray supplements are a home run across the board. Imogen Sara Smith's leaflet essay summarizes the film's strengths with keen insight. Dana Polan's commentary track dissects the film thoroughly with plenty of informative asides. L.A. Confidential director Curtis Hanson leads the way through "In a Lonely Place": Revisited. I'm a Stranger Here Myself is a fun feature on how Nicholas Ray's films work behind the scenes. My favorite feature, however, is a short documentary on the career of Gloria Grahame.

It's only May, but I have no hesitations right now about calling this Criterion Blu-ray of In a Lonely Place my favorite Blu-ray release of 2016. This is easily my favorite Criterion release of the past two or three years. It's really something else.

[AaronJ]

Thank you for that review. That was really an excellent review of the film. This is one of those few great films that I haven't yet seen. Well, great American films anyways. Looks like I will need to order this. So many Criterions, so little money.

[mja345]

Originally Posted by AaronJ

Actually, I am SURE that they will put Ghost World in the collection, since I bought a German version not so long ago.

That almost ensures it.

But yes, it really is a good film.

I have the German BD of "Ghost World" and, in the bonus interviews, ScarJo sounds like she could play middle linebacker in the NFL if you just heard her voice haha. It's that deep and husky.

I initially saw that movie when I was about 16 and I was a big Thora Birch fan at the time. My buddy and I would argue who was hotter of Thora or Scarlett, like 16 year old dorks do. It's crazy that Thora's career went in the toilet while Scarlett's career took off into the stratosphere. Thora just never had a couple of parts like "Match Point" and "Lost in Translation" which IMO catapulted Scarlett into being a fantastic adult actress.