The Criterion Collection

[jw007]

Just watched L'Eclisse. A mysterious yet beautifully alienating film from Antonioni. This was the 3rd and final film of his alienation trilogy but I never saw L'Aventura and La Notte yet. Hopefully I didn't spoil my alienation experience by watching the 3rd and final film in the trilogy first. Monica Vitti's character is so aloof and hard to grasp I must say.

[ravenus]

My first Criterion thingies:

DVD - I think the first one I ever had was a gift from a friend, Taste of Cherry (bring on the jokes about losing my CC virginity here ). The first thing I bought from the collection was probably the Kurosawa Samurai films collection with Seven Samurai, Hidden Fortress, Yojimbo and Sanjuro - now all those films have been upgraded to their HD versions.

Blu-ray - Oh I remember this well, it was Wings of Desire. This was in the days when I still wondered about how blu-ray would be beneficial for older films, and a friend that owns the entire Criterion output on DVD was telling me scary stories like the booklets were a lot more crammed and liable to be damaged on account of the smaller BD cases. Luckily those fears were unfounded and what the film looked like in HD strongly swayed me towards the blu-ray camp for my future purchases

[ravenus]

Originally Posted by jw007

Hopefully I didn't spoil my alienation experience by watching the 3rd and final film in the trilogy first. Monica Vitti's character is so aloof and hard to grasp I must say.

Alienation experience doesn't come in a specific sequence, so no worries there I doubt most thematic trilogies (as opposed to plot-based ones) have to be seen in any defined order.
If you haven't already, Red Desert may also be considered linked to these films for its theme of isolation in an industrial society, and again Monica Vitti has a difficult character to empathize with.

[Polaroid]

Originally Posted by RojD

I'm a recent re-convert to Westerns. For years, I pretty much dismissed the whole lot as Roy Rogers and Bonanza, but I saw Clint Eastwood's Unforgiven and realized it was more than a p***ing contest between a couple of macho guys but instead a look at a bigger idea, like considering "what is evil?" You see the same theme in lots of American New Wave and even today's Coen Bros, which made me realize that Westerns can be relevant. Then I saw the incredible character study that is The Assassination of Jesse James by the.... and the fine observation of power and women in Meek's Cutoff, and I realized there was a lot more to Westerns than spittin', cussin' and shootin'. All that stuff is just a genre vocabulary that a good director use for his own purposes.

Now I'm constantly (re)discovering Westerns I should've noticed. The Searchers is an honest-to-god classic dealing with racism but also with a dark existentialism that is just as present in post-war French cinema as here. It easily stands with Army of Shadows in looking at the effect of conflict on the human spirit. The Furies and Johnny Guitar use Western conventions to talk about women in society. Class issues inform Stagecoach, and as might be expected, the loss of virility is as much the focus of Huston's The Misfits as it is of Visconti's The Leopard. Pick a theme, and there are Westerns dealing with it.

Also, visual beauty in a film engages me as much as it does you, and many Westerns are stunning. Of course, there's Ford and Monument Valley. But the sparkle and mirrors in Furies yields no ground to Sirk's interiors, and I'd put McCabe and Mrs. Miller's interiors with those of other great naturally-lit interiors like Barry Lyndon.

I should've known that any good director uses the givens of his genre to make his point, but I've honestly been surprised to recognize that directors of Westerns do just that. The problem lots of us have with Westerns is that their elements are sort of jarring and, at this point, unfamiliar.

Anyway, give 'em a try. Like I'm finding, there's an awful lot of good Western cinema out there. YeeeHaaa!

Thanks for the great reply :-) I will have to do as you say and try look at them from a different angle, rather than the image I have in my head hlol

[Polaroid]

Originally Posted by jw007

Just watched L'Eclisse. A mysterious yet beautifully alienating film from Antonioni. This was the 3rd and final film of his alienation trilogy but I never saw L'Aventura and La Notte yet. Hopefully I didn't spoil my alienation experience by watching the 3rd and final film in the trilogy first. Monica Vitti's character is so aloof and hard to grasp I must say.

How mysterious is it? Picnic level? or is it more subtle? I am intrigued lol

[JJJ225]

Originally Posted by iScottie

I spent the entire evening watching Ingmar Bergman's Faith Trilogy. If he wasn't my favorite director prior to seeing the three films, he sure is now.

I would rank the films in the following order: The Silence, Through a Glass Darkly, and Winter Light. Both Through a Glass Darkly and Winter Light are incredibly deep from a religious perspective, and as such, I would need to watch them several more times in order to get a better grasp on them. A lot is thrown at the audience in such a short duration of time that it is often hard to keep up, especially during Winter Light. The Silence, on the other hand, is very deep from a humanistic point-of-view. I would even go so far as to call it one of my Top 3 favorite Bergman films - tied with both Persona and Wild Strawberries.

I enjoyed The Silence as much as I did because it is a very simple film, yet it draws upon many deep questions at its core. The film only uses dialogue, for example, when it is absolutely necessary to move the story along. The usage of body language is therefore essential for showing the tension that exists amongst all of the characters in the story. Furthermore, Bergman's directing style, specifically the usage of a variety of camera sizes and lengths, was necessary for showing the isolation and emptiness that exists in both the hotel and in the lives of the characters. I like how the hotel was displayed as a maze, almost as much as the relationships that each person had with the other. No matter how hard they tried, the characters could not make a meaningful human connection with the other.

I wish I could say more, but I'm truly at a loss of words. Add me to the list of people who would love to see these films on Blu-ray.

I love these films dearly. Winter Light is one of my favorite Bergman films. Definitely hoping this set gets a Blu Ray release soon.

[Polaroid]

Finally got around to watching my copy of Autumn Sonata.

I am speechless, their performances were breathtaking and so devastating, I really appreciate how Bergman let their performances take the time light and that was all the film needed, it didn't need an over the top score, and even though it was beautiful filmed, the focus was entirely on these poor characters.

I am left feeling like I want more though, I want to know more about Eva and her mother.

This film will be on my mind for a while! Had similarities with Lars Von Triers films actually.

Just exploring the supplements with has some really nice stuff to get into!

[Fellini912]

Originally Posted by iScottie

I spent the entire evening watching Ingmar Bergman's Faith Trilogy. If he wasn't my favorite director prior to seeing the three films, he sure is now.

I would rank the films in the following order: The Silence, Through a Glass Darkly, and Winter Light. Both Through a Glass Darkly and Winter Light are incredibly deep from a religious perspective, and as such, I would need to watch them several more times in order to get a better grasp on them. A lot is thrown at the audience in such a short duration of time that it is often hard to keep up, especially during Winter Light. The Silence, on the other hand, is very deep from a humanistic point-of-view. I would even go so far as to call it one of my Top 3 favorite Bergman films - tied with both Persona and Wild Strawberries.

I enjoyed The Silence as much as I did because it is a very simple film, yet it draws upon many deep questions at its core. The film only uses dialogue, for example, when it is absolutely necessary to move the story along. The usage of body language is therefore essential for showing the tension that exists amongst all of the characters in the story. Furthermore, Bergman's directing style, specifically the usage of a variety of camera sizes and lengths, was necessary for showing the isolation and emptiness that exists in both the hotel and in the lives of the characters. I like how the hotel was displayed as a maze, almost as much as the relationships that each person had with the other. No matter how hard they tried, the characters could not make a meaningful human connection with the other.

I wish I could say more, but I'm truly at a loss of words. Add me to the list of people who would love to see these films on Blu-ray.

Time well spent, your evening was enriched by classic Bergman films
It is great to see all these posts on Bergman and classic westerns.

The term "faith trilogy" was given by film critics; Bergman, if I remember correctly, in a interview did not intend the three films to be a trilogy. But one could easily argue that these three films mark a great transition away from his religious theme based films. By the end of the so called trilogy, The Silence, the last of the three, has no major religious theme. It is also interesting to compare Satyajit Ray's The Music Room with Through a Glass Darkly, there are striking similarities, especially the use of the "spider". Winter Light is filled with religious and philosophical nuances, it is a dense film.

I would give a lot of credit to Sven Nykvist for the great cinematography; the lighting and close-ups are definitely the man's own doing.

Each film can stand on it's own, but if Criterion decides to release them as a trilogy I will definitely be glad.

[Tin Drum]

Originally Posted by SlickDamian

http://blogs.indiewire.com/theplayli...tures-20140718

IndieWire has Linklater confirming that Boyhood is coming to Criterion with a big special features package. Going to be one of the top releases of the year for sure.

Originally Posted by ShellOilJunior

Does Criterion get it out by the end of the year? Possibly for December?

Seems to be too soon.

[Elvis]

Originally Posted by Polaroid

Thanks for the great reply :-) I will have to do as you say and try look at them from a different angle, rather than the image I have in my head hlol

I would strongly recommend High Noon over any other. A much more realistic take on the old west than a lot of the "fun" macho bravado. Also not on blu yet sadly but The Man Who Shot Liberty Valance would be up there in my strong recommendations as well.

[The Great Owl]

I don't know where to start when it comes to recommending Westerns. Stagecoach would probably be my first pick, because it's so entertaining, and because it's influenced so many subsequent flicks. 3:10 to Yuma and Jubal are both outstanding, and, in fact, Jubal does not get nearly enough credit for being the great flick that it is.

Red River is near perfect, but I prefer Rio Bravo as far as the Howard Hawks westerns go. (I recently bought El Dorado, though, so I need to check it out soon.) I agree with an above post that High Noon is a great movie. Funnily enough, though, John Wayne reportedly did not like that movie, because he hated the idea that the sheriff was asking the townspeople for help. Rio Bravo is an antidote of sorts to High Noon in that regard.

I wish that Lonely Are the Brave, starring Kirk Douglas, would be released by Criterion. That's an incredible contemporary western of sorts along the lines of The Misfits.

Gunfight at the O.K. Corral is underrated. Burt Lancaster and Kirk Douglas are both golden in this movie, and it look beautiful on Blu-ray.

Shane deserves all of the praise that it has received over the decades. It's another Western that is close to perfect.

The Sergio Leone Westerns? Check. I love 'em all. The recent remaster of The Good, the Bad and the Ugly is a revelation, so don't listen to all of the negativity in the dedicated thread for that movie.

How the West Was Won is one of the coolest-looking Blu-rays that you'll ever watch. Buy the edition that includes the "SmileBox" version.

River of No Return is a strong contender for my favorite Marilyn Monroe movie. Otto Preminger works wonders with this one, and there's something about Monroe steering through river rapids in a flannel shirt and jeans that works for me.

The Man from Laramie and Two Rode Together are both impressive Twilight Time Blu-rays that showcase another side of actor Jimmy Stewart.

The Searchers, of course, belongs in everyone's collection. It's one of the best character roles for John Wayne, and John Ford's visions of wide open spaces are really something else.

The Outlaw Josey Wales, Unforgiven, and the other Eastwood westerns are worth their weight in gold.

No Country for Old Men is a fascinating contemporary neo-noir spin on the western genre. One could also argue that Ridley Scott's The Counselor takes the Wild West in an unprecedented dark direction.

Night of the Grizzly is such a fun family-friendly western. I can't get enough of the Olive Films disc.

Last, but not least, I have to tip the hat to City Slickers, which is one of the best comedies that I own.

I have John Ford's The Man Who Shot Liberty Valance, by way of the region-free UK disc. It's still in my unwatched stack, though, along with several key Olive Films westerns.

Blu-ray.com says that westerns are "strongly over-represented" in my collection. Common sense is strongly under-represented with that particular observation, though.


I'll stop now. I just finished my Saturday morning training run, and I want to see some exploding Scanners heads.

[SilentDawn]

Originally Posted by Freder Fredersen

Relax.
Take a deep breath.
Your cinematic life has been forever changed.

It definitely has. Wow.

The opening sequence =

[Polaroid]

About to watch Boyhood. Really hope it's good, if so bring on Criterion release haha!

At odeon and it's on the smallest/crappiest screen - will be making a complaint regarding this as in paying full price >,<!

[jayembee]

Originally Posted by Polaroid
Hasn't Criterion signed a deal with Sony? so it is a possibility for that individual film to be released?

Originally Posted by shadedpain4

I think the deal with Sony was just manufacturing and/or distributing, not anything to do with film licensing. There are probably others who know more about this that me however.

The deal was for distribution and accounting services. I was one of a few folks who suggested that this new relationship might result in Criterion having an easier time licensing Sony-owned titles, but no more than that.

[ijustblumyself]

All this talk of westers has got me itching to get into the genre. What would the best three Criterion westerns be?
I've been considering Red River and Stagecoach.. Are they just plain fun, or is there a lot beneath the surface that you can dig into?

Out of all the other Westerns in the collection, Jubal, 3:10 to Yuma and Heaven's Gate interest me the most.

[Polaroid]

Originally Posted by ijustblumyself

All this talk of westers has got me itching to get into the genre. What would the best three Criterion westerns be?
I've been considering Red River and Stagecoach.. Are they just plain fun, or is there a lot beneath the surface that you can dig into?

Out of all the other Westerns in the collection, Jubal, 3:10 to Yuma and Heaven's Gate interest me the most.

I am going to start Thai genre with Heavens Gate personally, seems more my taste, will see how the genre goes from there :-) does seem like a shame I'm writing an entire genre of film off even after not giving it fair try haha

[octagon]

Originally Posted by ijustblumyself

All this talk of westers has got me itching to get into the genre. What would the best three Criterion westerns be?
I've been considering Red River and Stagecoach.. Are they just plain fun, or is there a lot beneath the surface that you can dig into?

Out of all the other Westerns in the collection, Jubal, 3:10 to Yuma and Heaven's Gate interest me the most.

Stagecoach, 3:10 to Yuma and Ride with the Devil are probably my favorites but Heaven's Gate isn't too far behind. It's got its problems but the good stuff is pretty damn good.

And no, none of them are simple 'meanwhile back at the ranch' shoot-em-ups.

Not that there's anything wrong shoot-em-ups, mind you.

(edit: no comment on Red River or Jubal because I haven't seen them yet)

[Scottie]

Originally Posted by jw007

Hopefully I didn't spoil my alienation experience by watching the 3rd and final film in the trilogy first.

Don't worry, the three films are not connected with one another.

Originally Posted by Fellini912

Time well spent, your evening was enriched by classic Bergman films
It is great to see all these posts on Bergman and classic westerns.

The term "faith trilogy" was given by film critics; Bergman, if I remember correctly, in a interview did not intend the three films to be a trilogy. But one could easily argue that these three films mark a great transition away from his religious theme based films. By the end of the so called trilogy, The Silence, the last of the three, has no major religious theme. It is also interesting to compare Satyajit Ray's The Music Room with Through a Glass Darkly, there are striking similarities, especially the use of the "spider". Winter Light is filled with religious and philosophical nuances, it is a dense film.

I would give a lot of credit to Sven Nykvist for the great cinematography; the lighting and close-ups are definitely the man's own doing.

Each film can stand on it's own, but if Criterion decides to release them as a trilogy I will definitely be glad.

You make some rather excellent points. I never thought about it like that.

With the first entry of the trilogy, we see a woman struggling to find her faith, in the second we see a priest struggling with the uncertainty of his faith, and by the final entry, we do not see the inclusion of any religious ideas at all.

As I reflect back upon all of the films, I cannot help but notice that some of the things talked about, especially towards the end of each, works as a building block for the overall message of the next film. Take a film like Winter Light, for example. We end with the idea of "God's silence", which one of the parishioners expressed was perhaps the worst form of suffering for Jesus, rather than the physical tribulations. It seems that Bergman took this and made it the basis of his final trilogy film and he did a phenomenal job at pulling it off.

All of this talk makes me understand the films a little bit better and I want to watch them again and again. Haha.

[jeloid]

Originally Posted by iScottie

Have any of you read this book? If so, does it do a good job at analyzing and reflecting on Bergman's films? I would love to dig deeper into all of his works to get the bigger picture out of them.

I have read this book. You get more insight into Bergman the man and ultimately a new perspective on his films. Bergman discusses his process, fears, childhood traumas at great length as he develops ideas for his films and theater productions. I found the book to be a revelation.

[ccfixx]

Originally Posted by iScottie

Have any of you read this book? If so, does it do a good job at analyzing and reflecting on Bergman's films? I would love to dig deeper into all of his works to get the bigger picture out of them.

It's a great book, iScottie, but I would shoot for the Ingmar Bergman Archives if you can afford it. I'm surprised Taschen hasn't released a more affordable version, yet, like they did with the Stanley Kubrick Archives. Also, just go to IngmarBergman.se, click on Menu and start diving in to all of the information on that site.