The Criterion Collection

[Fellini912]

Originally Posted by Sherlock_Jr

Again, I think aspects of the original are better, but I also think Soderbergh improved on other aspects. But it's not really the same film. Soderbergh chose to highlight the romance more, and in effect tell a similar story in much more economical time. I think the first hour of the original is pretty boring personally, and I like Soderbergh's use of overlapping flashbacks. But hey, to each his own.

I totally agree. In Ebert's critique, he mentioned or implied that some editing of the original would of made it a more focused film. That long drive to the space shuttle was unnecessary, in my opinion. Some takes were too long especially that first hour. I would compare it to Stalker, in that film the long takes were actually poetic, had some value and build on the suspense.

Another great director that likes long pauses is Yasujiro Ozu, but in his case I really enjoy those pauses. They are serene and very picturesque. It probably boils down to composition of the scene. And Ozu is a master of composition

To say a movie is flawless, is being unrealistic. And Solaris by Tarkovsky has its flaws.

[Abdrewes]

Ozu, however, loved to break the 180 degree rule.

Again, I don't think Solaris is unnecessarily slow. Each shot is exactly the length it needs to be.

[SammyJankis]

Next to a couple of scenes in Nostalghia, the drive in Solaris is one of Tarkovsky's worst scenes. Whereas the journey in the tunnel in Stalker is mesmerizing and has an element of mystery during it's lengthy, gradual pace, the car ride just ends up being tedious and ultimately superflous.

[Abdrewes]

Originally Posted by SammyJankis

Next to a couple of scenes in Nostalghia, the drive in Solaris is one of Tarkovsky's worst scenes. Whereas the journey in the tunnel in Stalker is mesmerizing and has an element of mystery during it's lengthy, gradual pace, the car ride just ends up being tedious and ultimately superflous.

I don't think it's tedious. It implicates the viewer into the space. The scene is filled with tension, for he is about to go on an incredible journey. I wouldn't cut a second, it's absolutely mesmerizing.

I wonder what you guys think about the films of Michael Snow or Bela Tarr (specifically Turin Horse)?

[*DrStrangelove*]

I just finished The Fernando Di Leo crime collection. I enjoyed this set very much. His films remind me very much of Suzuki's yakuza films. I was really impressed with the quality and work Raro Video did with the set so I decided to check out some of their other releases. I am now very interested in blind buying Visconti's In Conversation. Have any of you seen it? This looks like a film Criterion would release. I've never seen anything by this director but after watching the trailer I am intrigued. I wonder why Criterion didn't get there hands on this release.

[The Great Owl]

Originally Posted by SammyJankis

Next to a couple of scenes in Nostalghia, the drive in Solaris is one of Tarkovsky's worst scenes. Whereas the journey in the tunnel in Stalker is mesmerizing and has an element of mystery during it's lengthy, gradual pace, the car ride just ends up being tedious and ultimately superflous.

I love the city driving sequence in the original Solaris, and it mesmerizes me every time without fail. I never try to analyze the scene, and I just roll along with the images.

[Abdrewes]

Originally Posted by *DrStrangelove*

I just finished The Fernando Di Leo crime collection. I enjoyed this set very much. His films remind me very much of Suzuki's yakuza films. I was really impressed with the quality and work Raro Video did with the set so I decided to check out some of their other releases. I am now very interested in blind buying Visconti's In Conversation. Have any of you seen it? This looks like a film Criterion would release. I've never seen anything by this director but after watching the trailer I am intrigued. I wonder why Criterion didn't get there hands on this release.

I've yet to dig into my Fernando Di Leo set.

I really need In Conversation. I've liked all of the Visconti films I've seen. Speaking of which, Rocco and His Brothers (which stars Alain Delon) will air on TCM this month.

[Abdrewes]

Originally Posted by The Great Owl

I love the city driving sequence in the original Solaris, and it mesmerizes me every time without fail. I never try to analyze the scene, and I just roll along with the images.

I'm there with you.

[SammyJankis]

Originally Posted by Abdrewes

I don't think it's tedious. It implicates the viewer into the space. The scene is filled with tension, for he is about to go on an incredible journey. I wouldn't cut a second, it's absolutely mesmerizing.

I wonder what you guys think about the films of Michael Snow or Bela Tarr (specifically Turin Horse)?

It didn't do anything for me, at all. Most of the time his style works on more than a technical level.

It has nothing to do with the pace. I'm all for slow pacing - hell, I prefer it. Give me Antonioni and Ozu any day and I'll watch it. But that scene I mentioned is one of the few missteps in Tarkovsky's career; a scene that wants to be more, but comes off self-indulgent and lands with a hollow thud.

[Abdrewes]

Originally Posted by SammyJankis

It didn't do anything for me, at all. Most of the time his style works on more than a technical level.

It has nothing to do with the pace. I'm all for slow pacing - hell, I prefer it. Give me Antonioni and Ozu any day and I'll watch it. But that scene I mentioned is one of the few missteps in Tarkovsky's career; a scene that wants to be more, but comes off self-indulgent and lands with a hollow thud.

I can see where your coming from. I can't say it's one of the most purposed shots of his filmography, but damnit if it doesn't feel that way when I watch it

By the way, did you see the feedback I got on the Upstream Color thread?...yeesh.

[SammyJankis]

Originally Posted by Abdrewes

I can see where your coming from. I can't say it's one of the most purposed shots of his filmography, but damnit if it doesn't feel that way when I watch it

By the way, did you see the feedback I got on the Upstream Color thread?...yeesh.

I was waiting for you to respond.

[Abdrewes]

Originally Posted by SammyJankis

I was waiting for you to respond.

I just read it and posted my response.

Maybe It came off wrong, but The Raid and Upstream Color are polar opposites, right?

[Fellini912]

Originally Posted by SammyJankis

It didn't do anything for me, at all. Most of the time his style works on more than a technical level.

It has nothing to do with the pace. I'm all for slow pacing - hell, I prefer it. Give me Antonioni and Ozu any day and I'll watch it. But that scene I mentioned is one of the few missteps in Tarkovsky's career; a scene that wants to be more, but comes off self-indulgent and lands with a hollow thud.

I totally agree with you Sammy, and great comparison with Stalker (that is the film where he gets it right, in my opinion). Like I mentioned in my prior post, it is not about the pacing, but the composition and context (there is none that I can figure in car ride scene).

[brandon_260]

The Soderbergh discussion really makes me want to pop in Che again. Maybe tomorrow, after I finish Carlos. Truly one of my favorite film makers.

[SammyJankis]

Originally Posted by Abdrewes

I just read it and posted my response.

Maybe It came off wrong, but The Raid and Upstream Color are polar opposites, right?

I haven't seen The Raid, but.. yes, I'd say that's an accurate assessment.

[blkhrt]

Originally Posted by The Great Owl

I love the city driving sequence in the original Solaris, and it mesmerizes me every time without fail. I never try to analyze the scene, and I just roll along with the images.

I agree. That scene is great.

[Abdrewes]

Originally Posted by Fellini912

I totally agree with you Sammy, and great comparison with Stalker (that is the film where he gets it right, in my opinion). Like I mentioned in my prior post, it is not about the pacing, but the composition and context (there is none that I can figure in car ride scene).

The eerie sound design & the cold, pensive faces reflect everyday existence. Some of the aerial shots are almost comparable to Koyaanisqatsi and, in a way, King Vidor's The Crowd. That coupled with the Black and White cinematography makes it look like its commenting on the shared, not terribly exciting, experience we all have on this earth, virtually only existing on one lateral plane: the earth's crust. It also contrasts very nicely with all the metaphysical goings on in the space station section of the film, especially considering the curved tunnels resemble the interior of the space station.


My $0.02

[brandon_260]

Originally Posted by Abdrewes

I just read it and posted my response.

Maybe It came off wrong, but The Raid and Upstream Color are polar opposites, right?

Glad you got to it before I did. I feel like I'm too negative outside of this thread.

[the sordid sentinel]

Just got through watching Three Colors again. Amazing trilogy top to bottom. Hard not to fall in love with Irene Jacob a bit every time I see Red. I also watched for the first time the doc about Kieslowski that is included in the supplements. Fascinating stuff.

[gates70]

Originally Posted by P@t_Mtl

As others pointed out I was just being myself, you don't really know me that well. Either one make for greta viewing even if I would say Night Of The Hunter is the better movie

It's all good. Thanks for the input sir