The Criterion Collection

[MifuneFan]

White Mane's page has been updated with new screenshots, so that's definitely coming with The Red Balloon as well. As CelestialAgent suggested, perhaps we'll see a complete, or expanded collection of Albert Lamorisse films.

Here is his full filmography (via Wikipedia)

Short films

Bim (1950) ... a.k.a. Bim, le petit âne (France)
Crin-Blanc (1953) ... a.k.a. White Mane (U.S.) and Wild Stallion
Le Ballon rouge (1956) ... a.k.a. The Red Balloon

Feature films

Le Voyage en ballon (1960); ... a.k.a. Stowaway in the Sky
Fifi la plume (1965) ... a.k.a. Circus Angel (US: TV title)
Le Vent des amoureux

Documentaries

Djerba (1947)
Versailles (1967)
Paris jamais vu (1967)
Le Vent des amoureux (1978) ... a.k.a. The Lovers' Wind

[take1leave1]

After they released Romeo & Juliet maybe they can release Zeffirelli's The Taming of the Shrew, also significant for the Taylor/Burton pairing. It is one of the best films I have seen to receive no blu-ray release.

[captveg]

Originally Posted by Doomhunter

It would be nice if Criterion could release Harold Lloyd’s Why Worry, Dr. Jack, and Hot Water on blu ray

My most wanted Lloyd films are Girl Shy and The Milky Way.

[NeoNical]

Originally Posted by Bolo Seagull

Does anybody know what is up with the rights to 'Wake In Fright'? There's a bluray that is out of print. Could the rights be got by Criterion?

Previously part of Drafthouse Films. That catalogue has gone to a few other boutique labels so Wake in Fright could really be with any boutique label at the moment. It's not an insanely filmic restoration so I would recommend the Australian Madman Blu-ray if you want a copy (Do note that there is a little bit of compression in some shots in the third act). Otherwise you will have to wait for another US release down the line whenever.

[edmoney]

Originally Posted by Shane Rollins

Ambersons on the other hand might take a while. It’s a fairly new Blu-ray, not Welles’ most popular movie, not his most known movie, and the thing that would really move some units of that movie most likely doesn’t exist anymore. I will say this though, and I hope someone from Criterion sees this. If they redo Ambersons for either 4K or a redone Blu-ray, I hope they get everything that was on the laserdisc, especially the screenplay for the original cut. Its omission from the Blu-ray was a serious mistake on Criterion’s part, and it’s the reason I still give the LD higher marks than the Blu.

I would love a 4K upgrade of Ambersons. Not sure when/if we would get it, but I don't think the Blu-ray release can be considered fairly new - November 2018 is nearly five years ago. Night of the Living Dead got a 4K upgrade in less than five years, while Mildred Pierce and Mulholland Drive got upgrades in about six years. But I agree that Ambersons may not be as popular as some of those other titles, although the upgrade for Mildred Pierce surprised me, so who knows.

[NeoNical]

Correct me if I'm wrong, but wasn't there a search to find the longer version of The Magnificent Ambersons a few years back? I assume it's still not found and most likely no longer exists now.

[Fellini912]

Originally Posted by NeoNical

Correct me if I'm wrong, but wasn't there a search to find the longer version of The Magnificent Ambersons a few years back? I assume it's still not found and most likely no longer exists now.

It is probably in one of the boxes in Xanadu.

[Taylor3978]

Originally Posted by NeoNical

Correct me if I'm wrong, but wasn't there a search to find the longer version of The Magnificent Ambersons a few years back? I assume it's still not found and most likely no longer exists now.

From Wikipedia:

The negatives for the excised portions of The Magnificent Ambersons were later destroyed in order to free vault space. A print of the rough cut sent to Welles in Brazil has yet to be found and is generally considered to be lost, along with the prints from the previews. A documentary team led by Joshua Grossberg and backed by Turner Classic Movies plans a search for the rough cut in September 2021.[19] Filmmaker Brian Rose revealed in January 2021 he hopes to restore the original version of the film by use of animation. However, his plan does not yet have the backing of the rights holder.[20]

Welles in conversation with Peter Bogdanovitch:

I had an outside chance to finish it again just a couple of years ago, but I couldn't swing it. The fellow who was going to buy the film for me disappeared from view. The idea was to take the actors who are still alive now—Cotten, Baxter, Moorehead, Holt—and do quite a new end to the movie, twenty years after. Maybe that way we could have got a new release and a large audience to see it for the first time. You see, the basic intention was to portray a golden world—almost one of memory—and then show what it turns into. Having set up this dream town of the "good old days," the whole point was to show the automobile wrecking it—not only the family but the town. All this is out. What's left is only the first six reels. Then there's a kind of arbitrary bringing back down the curtain by a series of clumsy, quick devices. The bad, black world was supposed to be too much for people. My whole third act is lost because of all the hysterical tinkering that went on. And it was hysterical. Everybody they could find was cutting it.

Seriously ambivalent about issuing a BD of this butchered masterpiece that mght be regarded as definitive. It looks like the definitive version is lost to studio stupidity.

[NeoNical]

Originally Posted by Taylor3978

Seriously ambivalent about issuing a BD of this butchered masterpiece that mght be regarded as definitive. It looks like the definitive version is lost to studio stupidity.

What a shame. And it seems like there hasn't been any progress on that search that started back in 2021, which was when I first heard about the rough cut version existing.

[The Coconut God]

Originally Posted by NeoNical

Previously part of Drafthouse Films. That catalogue has gone to a few other boutique labels so Wake in Fright could really be with any boutique label at the moment. It's not an insanely filmic restoration so I would recommend the Australian Madman Blu-ray if you want a copy (Do note that there is a little bit of compression in some shots in the third act). Otherwise you will have to wait for another US release down the line whenever.

If you're region free, I'd rather go with Eureka's MoC release, as it has a fantastic booklet.

If the film is ever re-released, I would hope someone will take a shot at a new restoration. Even though I actually like the grimy look of the current one and I'm not sure how much can be done with the existing materials, a pristine version with natural grain would be a dream, and an excellent reason to double-dip.

[Protozoid]

Originally Posted by NeoNical

Correct me if I'm wrong, but wasn't there a search to find the longer version of The Magnificent Ambersons a few years back? I assume it's still not found and most likely no longer exists now.

Part of me wonders if AI will be good enough in a few more years to convincingly fill in the blanks of the missing footage. They presumably still have things like a script, costume/set design, some stills, and can even recreate voices. Give it a few more years and it'll be much better than traditional animation.

[theater dreamer]

I have developed a love affair with the Criterion Channel. I’ve been subscribed for quite some time, occasionally watching a film here and there. But this past week, I pulled up my boots, and waded into those waters, deciding to explore everything that their carefully-curated collections had to offer. And I haven’t touched anything else since.

I watched several entrants from their “‘70s car movies” collection, and a number of Kay Francis films I’d not yet seen.

And now, I’m I luxuriating in the films of Isabelle Huppert, with tonight’s selection, White Material serving as my introduction to Claire Denis.

This is nirvana.

[Taylor3978]

Originally Posted by Protozoid

Part of me wonders if AI will be good enough in a few more years to convincingly fill in the blanks of the missing footage. They presumably still have things like a script, costume/set design, some stills, and can even recreate voices. Give it a few more years and it'll be much better than traditional animation.

This just feels like further violation of a butchered masterpiece. Let's put on another tacked-on ending, the last one was so great. You'd need a modern director, screenwriter, cinematographer and editor to fill in the part that we've lost, which means they would be putting their interpretations on the material. You could maybe get actors to recreate the roles, then use CGI etc to replace their faces and voices (that did not work well in Rogue One), but acting styles and philosophies are very different now. I doubt any modern actor would make the same choices that Tim Holt and Agnes Moorehead made over eighty years ago.

Sometimes you should just accept that not all mistakes can be undone. Time marches on and it's better to leave a corpse with some dignity rather than try to resuscitate it.

[speedracer5]

Originally Posted by theater dreamer

I have developed a love affair with the Criterion Channel. I’ve been subscribed for quite some time, occasionally watching a film here and there. But this past week, I pulled up my boots, and waded into those waters, deciding to explore everything that their carefully-curated collections had to offer. And I haven’t touched anything else since.

I watched several entrants from their “‘70s car movies” collection, and a number of Kay Francis films I’d not yet seen.

And now, I’m I luxuriating in the films of Isabelle Huppert, with tonight’s selection, White Material serving as my introduction to Claire Denis.

This is nirvana.

I have been loving their Gaslight Noir series. I'd already seen "Gaslight," "Hangover Square," and "Ivy," previously. I loved "Dragonwyck." I hope I am able to finish the series before it leaves the channel. I also hope that "Ivy" is released on blu ray. This seems like the type of title that Kino would release.

[Taylor3978]

Originally Posted by speedracer5

I have been loving their Gaslight Noir series. I'd already seen "Gaslight," "Hangover Square," and "Ivy," previously. I loved "Dragonwyck." I hope I am able to finish the series before it leaves the channel. I also hope that "Ivy" is released on blu ray. This seems like the type of title that Kino would release.

Ladies in Retirement is peak Ida Lupino, they feature her performance in the teaser for Noir by Gaslight.

And yes, we cancelled all other streaming services, Criterion Channel has more than enough to watch.

[theater dreamer]

I will watch that one tomorrow.

Originally Posted by Taylor3978

Ladies in Retirement is peak Ida Lupino, they feature her performance in the teaser for Noir by Gaslight.

And yes, we cancelled all other streaming services, Criterion Channel has more than enough to watch.

[koberulz]

Criterion Channel is easily my most-watched streaming service. Since I started my Letterboxd account a couple of years ago, I've watched 393 movies on there. 352 on disc. Netflix comes in second, for streaming services, at 158.

There's also a movie channel here which accounts for a further 329.

[Bolo Seagull]

I saw the new 4K remastering of 'Rosetta' in the cinema the other day. I don't know if Criterion are planning a 4K upgrade physical release of this title, but they currently distribute it on bluray.

I had never seen the film before, so I do not have a frame of reference. That being said, the picture had no wow factor to it, I found the image quite soft. But the image looked very natural and in keeping with a lot of artsypants European movies of that era. I don't know if the current bluray looks bad, but it would have to for this to really feel like a night and day upgrade.

I thought the film itself was pretty good and consistently engaging, though I am in no rush to watch it again.

[Gunsnroses092789]

Originally Posted by Bolo Seagull

I saw the new 4K remastering of 'Rosetta' in the cinema the other day. I don't know if Criterion are planning a 4K upgrade physical release of this title, but they currently distribute it on bluray.

I had never seen the film before, so I do not have a frame of reference. That being said, the picture had no wow factor to it, I found the image quite soft. But the image looked very natural and in keeping with a lot of artsypants European movies of that era. I don't know if the current bluray looks bad, but it would have to for this to really feel like a night and day upgrade.

I thought the film itself was pretty good and consistently engaging, though I am in no rush to watch it again.

It was shot on 16mm film, so it is inherently softer and more grainy. I would be surprised if they upgraded it, as the uptick would likely be minimal. Though since they are also distributing The Son, also shot on 16mm, I am hoping they do that on 4K UHD since it never even had a Blu-ray release anywhere.

[MifuneFan]

Guillermo del Toro’s Pinocchio 4K UHD

https://www.criterion.com/films/3382...oros-pinocchio

DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES

• 4K digital master, supervised by directors Guillermo del Toro and Mark Gustafson, with Dolby Atmos
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Handcarved Cinema, a new documentary featuring del Toro, Gustafson, and cast and crew, including the film’s puppet creators, production designers, and animation supervisor
• Directing Stop-Motion, a new program featuring del Toro and Gustafson
• New conversation between del Toro and film critic Farran Smith Nehme
• New interview with curator Ron Magliozzi on The Museum of Modern Art’s 2022 exhibition devoted to the film
• New program on the eight rules of animation that informed the film's production
• Panel discussion featuring del Toro, Gustafson, production designer Guy Davis, composer Alexandre Desplat, and sound designer Scott Martin Gershin, moderated by filmmaker James Cameron
• Conversation among del Toro, Gustafson, and author Neil Gaiman
• English subtitles for the deaf and hard of hearing and English descriptive audio
• PLUS: Essays by film critic Matt Zoller Seitz and author Cornelia Funke

Cover by James Jean