The Criterion Collection

[Vinyl]

Originally Posted by Banned User

I think fate stepped in to give Sword of Doom the perfect ending. One of the best Samurai pictures in the collection IMO.

[Show spoiler]The idea that this man is the hand of Buddha, alluded to at the beginning when the old man prays for death, and the fact he can't bring himself to cut down the honest and noble Toshiro really fits well with this idea the main character is powerless in his actions. The ending he is fighting his forced destiny as much as the whole world.

Love The Samurai Trilogy such a great and complete work of art that keeps you glued to the sceen, but like others here I'm kind of luke warm on Three Outlaw Samuari.

Still hoping Criterion updates their Rebel Samurai Swordplay Sixties boxset to Bluray soon.

I agree with what you said. The only thing I disagree with is on Three Outlaw Samurai. I enjoyed it very much. It was a nice change of pace for the Samurai/swordplay genres while still considered to be in the genres.

Sword of Doom definitely stands out in the genre probably because of the blackness of the film. It just keeps getting darker and darker along with the protagonist. I was blown away by the film and love it.

[The Great Owl]

Originally Posted by JJJ225

Well I sold my The Third Man Blu Ray on eBay. It was probably the most valuable move in my collection. Bring on a release of the new restoration!

As long as you don't mind the French language writing on the cover art, the new region-free StudioCanal Blu-ray of the 4K restoration of The Third Man is a whole lot of fun.



This Blu-ray gives you a choice of three languages (French, German, English) as soon as the disc boots up in the player, and, from that moment onward, everything (movie, extras, subtitles), are in your chosen language.

[chidecki]

Having just watched the movie Klute from TCM's Summer of Darkness I must say it was a fantastic 70's movie and that soundtrack was creepy as hell. I would love for Criterion to pick this movie up and get some words from Fonda and Sutherland, who were excellent, about making the film. I loved the 70's vibe, especially the clubs and streets of New York. I figured who the stalker was early on, but still enjoyed Sutherland's laid back detective and Fonda's tender, yet toughness. How about it Criterion?

[Banned User]

Originally Posted by Vinyl

I agree with what you said. The only thing I disagree with is on Three Outlaw Samurai. I enjoyed it very much. It was a nice change of pace for the Samurai/swordplay genres while still considered to be in the genres.

Its probably time I revisit Three Outlaw Samurai. Wouldn't be the first time I wrote off a film only to watch it again and appreciate it more.

[Marlow27]

Originally Posted by Edward J Grug III

Are you in Australia? Was this part of the Retro British Film Festival?

From the sounds of the audiences, you were in Perth, seeing them in the Windsor as well! :P

Haha, I actually was, yes! Definitely a mixed bunch, audience wise, it's astonishing how clueless some people are when in a cinema; the one that absolutely gets me the most is when two people are chatting, and then when there's music or an increase in the sound…they start to chat louder. Mind-boggling.

[llj]

Originally Posted by Edward J Grug III

Oh, and other contender for best cinematic experience of my life happened while seeing 2001.

Not the movie, but the guy sitting behind me who, during the overture asked, 'What the hell is going on?'

And then, after the logos came up and then the planets started aligning, asked again, 'what the hell is going on?!'

And then, before the title had even come up declared 'stuff this!' And stormed out!

Apparently this is just about the same reaction that Rock Hudson had when he went to see 2001.

[llj]

Originally Posted by CriterionBlues

It really chaps me to agree with Bosley Crowther and Bob Kramer in the same post. I adore Ikiru, but I do agree that unlike other Kurosawa films of similar length, it does *feel* long.

Ikiru was at one time considered Kurosawa's best film (circa 1990s I believe), but I tend to feel that time and more exposure has battered its rep down a little. It's still a heartfelt and sincere film, but some of the conversations between his coworkers could be cut down significantly and it wouldn't lose much. In contrast, High and Low's past rep as a "minor" Kurosawa has improved tremendously to the point that now many people consider it one of his best (including me).

[PowellPressburger]

Originally Posted by chidecki

Having just watched the movie Klute from TCM's Summer of Darkness I must say it was a fantastic 70's movie and that soundtrack was creepy as hell. I would love for Criterion to pick this movie up and get some words from Fonda and Sutherland, who were excellent, about making the film. I loved the 70's vibe, especially the clubs and streets of New York. I figured who the stalker was early on, but still enjoyed Sutherland's laid back detective and Fonda's tender, yet toughness. How about it Criterion?

KLUTE is thru WB I keep hoping WB Archive would release the film. I know the transfer if done correctly should be great. It is a very darkly lit film intentionally for many scenes. The film score by Michael Small was released thru FilmScoreMonthly paired with All the President's Men music by David Shire.

The KLUTE score has some creepy cues for sure. It used to be my most sought after official film score. (many boots were out there)

[bwdowiak]

Originally Posted by llj

Ikiru was at one time considered Kurosawa's best film (circa 1990s I believe), but I tend to feel that time and more exposure has battered its rep down a little. It's still a heartfelt and sincere film, but some of the conversations between his coworkers could be cut down significantly and it wouldn't lose much. In contrast, High and Low's past rep as a "minor" Kurosawa has improved tremendously to the point that now many people consider it one of his best (including me).

it still is considered one of his bests. the TSPDT aggregate list shows that it is ranked behind only the two obvious titles - Seven Samurai and Rashomon.

http://www.theyshootpictures.com/gf1...ilms_table.php

High & Low is good and I can't comment on how it has (or hasn't) risen in stature because I only recently became aware of the film, but it can be picken apart from here to tomorrow if one wanted to.

[llj]

Originally Posted by bwdowiak

it still is considered one of his bests. the TSPDT aggregate list shows that it is ranked behind only the two obvious titles - Seven Samurai and Rashomon.

http://www.theyshootpictures.com/gf1...ilms_table.php

High & Low is good and I can't comment on how it has (or hasn't) risen in stature because I only recently became aware of the film, but it can be picken apart from here to tomorrow if one wanted to.

All Kurosawa films can be criticized strongly because he had a more mainstream appealing style than other internationally renowned filmmakers--someone here mentioned Spielberg, and while I feel Kurosawa is a more interesting and far more distinctive filmmaker, he falls into many of the same traps Spielberg often does as well. Subtlety was never a Kurosawa trait, so nearly 90% of his output can be taken apart in various ways because of creative decisions that were meant to appeal to a broader audience.

I remember reading many film magazines during the 90s and it was common to see Ikiru top the list in Kurosawa rankings. Obviously I'm not saying it's fallen dramatically but it's not a "thing" anymore to say Ikiru is your favorite Kurosawa, like it was for a period during the 90s.

But it seems like every decade or so a different Kurosawa film becomes the trendy one to pick as his best. During the 70s and 80s it was Seven Samurai.

[SkyAntoine]

I watched Ikiru last night for the first time. Although I thought it was fantastic, I personally connected more with Tokyo Story and Wild Strawberries. I think the main reason I liked the other two more was

[Show spoiler]the regrets at the end of life were more relationship based and not self-worth or purpose of life reflections. In Ikiru the relationship with the son had little to no bearing on living life to the fullest. Placing myself in that situation I would have been very different as family would weigh on my mind more than what I have accomplished with my life.

Yet, I thought Ikiru was wonderful and I can't wait to upgrade to the new transfer. The DVD was a little more rough than I expected.

[bwdowiak]

Originally Posted by llj

All Kurosawa films can be criticized strongly because he had a more mainstream appealing style than other internationally renowned filmmakers--someone here mentioned Spielberg, and while I feel Kurosawa is a more interesting and far more distinctive filmmaker, he falls into many of the same traps Spielberg often does as well. Subtlety was never a Kurosawa trait, so nearly 90% of his output can be taken apart in various ways because of creative decisions that were meant to appeal to a broader audience.

I remember reading many film magazines during the 90s and it was common to see Ikiru top the list in Kurosawa rankings. Obviously I'm not saying it's fallen dramatically but it's not a "thing" anymore to say Ikiru is your favorite Kurosawa, like it was for a period during the 90s.

But it seems like every decade or so a different Kurosawa film becomes the trendy one to pick as his best. During the 70s and 80s it was Seven Samurai.

well, I'd like to think that I can see through the schmaltz. the Spielberg comparison was ridiculous and the film obviously works for a lot of people.
I was an absolute mess the first time I saw it. I know a lot of others here were, too.

[Ray Jackson]

Originally Posted by llj

Ikiru was at one time considered Kurosawa's best film (circa 1990s I believe), but I tend to feel that time and more exposure has battered its rep down a little. It's still a heartfelt and sincere film, but some of the conversations between his coworkers could be cut down significantly and it wouldn't lose much. In contrast, High and Low's past rep as a "minor" Kurosawa has improved tremendously to the point that now many people consider it one of his best (including me).

Originally Posted by bwdowiak

it still is considered one of his bests. the TSPDT aggregate list shows that it is ranked behind only the two obvious titles - Seven Samurai and Rashomon.

http://www.theyshootpictures.com/gf1...ilms_table.php

High & Low is good and I can't comment on how it has (or hasn't) risen in stature because I only recently became aware of the film, but it can be picken apart from here to tomorrow if one wanted to.

They're both two of the greatest films ever made.

Whatever flaws they may or may not have are in significant compared to the power to movie the human spirit that they both possess.

...for me at least.

[Ray Jackson]

Originally Posted by llj

All Kurosawa films can be criticized strongly because he had a more mainstream appealing style than other internationally renowned filmmakers--someone here mentioned Spielberg, and while I feel Kurosawa is a more interesting and far more distinctive filmmaker, he falls into many of the same traps Spielberg often does as well. Subtlety was never a Kurosawa trait, so nearly 90% of his output can be taken apart in various ways because of creative decisions that were meant to appeal to a broader audience.

I remember reading many film magazines during the 90s and it was common to see Ikiru top the list in Kurosawa rankings. Obviously I'm not saying it's fallen dramatically but it's not a "thing" anymore to say Ikiru is your favorite Kurosawa, like it was for a period during the 90s.

But it seems like every decade or so a different Kurosawa film becomes the trendy one to pick as his best. During the 70s and 80s it was Seven Samurai.

I couldn't possibly disagree more with everything you just said.

It's not a "thing" anymore to say that Ikiru is your favorite Kurosawa film?

I don't even know what that means?

If anything there appears to be a small contingent of folks here who think it's trendy to criticize Kurosawa as too "mainstream."

...I'm going to add that one to my "Things That Movie Hipsters Like to Say" thread.

[bwdowiak]

Originally Posted by Ray Jackson

...I'm going to add that one to my "Things That Movie Hipsters Like to Say" thread.

that's where we met and fell in love, Ray!

[jw007]

What should I, JW, watch on his birthday today?

[ShellOilJunior]

Choice of favorite film for a director has nothing to do with hipsters. It concerns film snobs.

A film snob goes out of his/her way to give a "favorite" which shows other people he/she has seen more than the most popular, salient films.

For example:

Stanley Kubrick
Snob's favorite: Fear and Desire

Kuroasaw
Snob's favorite: Sanshiro Sugata

Hitchcock
Snob's favorite: Easy Virture

[yoyokid8]

Originally Posted by jw007

What should I, JW, watch on his birthday today?

My favorite movies that I saw in your collection were Chungking Express and Yi Yi! Take my opinion with a grain of salt though.

[jw007]

Originally Posted by yoyokid8

My favorite movies that I saw in your collection were Chungking Express and Yi Yi! Take my opinion with a grain of salt though.

You're into Hong Kong/Taiwanese cinema, eh? Good picks (because of the birthday themes in those).

[llj]

Originally Posted by Ray Jackson

I couldn't possibly disagree more with everything you just said.

It's not a "thing" anymore to say that Ikiru is your favorite Kurosawa film?

I don't even know what that means?

If anything there appears to be a small contingent of folks here who think it's trendy to criticize Kurosaw as too "mainstream."

...I'm going to add that one to my "Things That Movie Hipsters Like to Say" thread.

I do not even know what a hipster actually is. I was born WAY too long ago to keep up with modern urban internet lingo like that, kid. However, a trend being called "a thing" has been around since at least the 80s, having lived through that gloriously tacky decade during my youth.

All I was saying was that there are trends in the film community not unlike most others. I'm not saying I personally follow or agree with them, I'm just saying that it's interesting to see how some movies rise or fall in reputation with various generations of critics.

I just find social trends interesting to mention because of my fascination with what people tend to hold up as a big "thing" at any given time.

However, I do stand by my comment that Kurosawa is not very subtle. I don't note that as a "bad" thing, nor does it depreciate my opinion of him one iota. But it's something that leaves Kurosawa open to criticism, I find. It would be wrong for me to not at least acknowledge this.

I know you're a Kurosawa fan so I'm not surprised you took "offense" at that post.

DO know that I actually consider Kurosawa the greatest film director of all time, though, so despite my seemingly lukewarm post above on him, he actually is on the highest echelon of film directors in my personal opinion. I don't know of any director who has mastered as many genres and as many film formats as Kurosawa has. Black and white, color, widescreen, he's done it all and not just done it well, but showed technical and artistic mastery in all of them. He also has an extremely good batting rate for someone so prolific. So he's not just a guy with 4 or 5 classics and 30-40 duds. He hits at least .500 and even his duds have some interesting elements.

You will not find many who hold Kurosawa in higher esteem than me.