The Criterion Collection

[billzfan]

Originally Posted by SpartanIre

I always understood that he rose above it. I also always cringed at the idea of nails being pounded through the hands and feet. However the amount of pain and suffering that he endured up to that point never really was fathomable to me until seeing Gibson's interpretation... That is my own personal recognition.

I agree. Every version of the crucifixion was a sanitized version of it. The scourging that everyone thought was too graphic was what really happened. Most men did not survive it. It really did leave criss cross slashes that would tear away the skin. Crucifixion, despite the obvious creative license of carrying the full cross instead of just the beam as well as the nail being put directly in the palm instead of throught the wrists where the bone would actually support the body weight, are very accurate. I'm not saying the film isn't violent and grotesque. I'm just saying that the manner that Jesus died was violent and grotesque.

[Narcissus]

Originally Posted by billzfan

I have to say as a Roman Catholic that most Christians are seriously sexually repressed.

Could have fooled me:

[Show spoiler]

[lemonski]

Originally Posted by fdm

The difference is in the packaging. The imports (UK, Australia) come in the Studio Canal book format, the US is a slipcase/case. Same disc content. Region free.

Is this the same for all the other US Studio Canal releases? Do they all come in a standard Blu-ray case? I'm thinking specifically of The Third Man, all the images I've seen of it show it in one of those crappy thin digibooks they use.

[mikesncc1701]

Got around to watching quite a few of my blind buys lately. Keep in mind I simply pasted these reviews from another forum and are replies to other responses.

Branded To Kill:

[Show spoiler]Although I enjoyed Tokyo Drifter, this did a lot more for me in terms of getting caught up with the characters and story. The sense of paranoia towards the end of the film is absolutely tops and keeps you glued waiting to see what's around the corner. Favorite part hands down though is when Hanada takes on his enemies at the breakwater. It's such a well executed scene down from using the car as a shield to simply driving over the last man. It definitely has a twisted sense of humor. Look no further than the main characters fetish and obsession with it. Loved this!

Made In U.S.A.:

[Show spoiler]Made In U.S.A. contains many Godard trademarks fused with a decades old genre and combines to form one of the director's most linear, yet one of his most experimental films. Anna Karina is lovely as the lead forced to mingle with bizarre characters as she investigates her case. Throw in a dash of fashion, wild colors, and political motives, you have one of Godard's finest films. I would like to note that I loved Jean-Pierre Léaud in a cameo appearance and the scene in the bar with the "bartender or Paul" contains some terrific wordplay and was probably my favorite scene in the film.

Days Of Heaven:

[Show spoiler]It would be easier to be able to grip more of an emotional attachment to those three characters and in effect, maybe grasp some of the feelings of betrayal and jealousy but to me, Malick would rather us witness these events than become a part of them. To be honest now that I think about it, Malick never gives too much screen time to just one character so that we may come to an understanding with them. Look at The Thin Red Line for instance. Sure you care whether these soldiers get blown to pieces but it's almost as if your observing the execution of an attack/defensive position instead of taking part in it. The New World feels the same way. As if your an outsider connected with neither the natives of newcomers, but that you witnessing a historical event, almost imagined as if you were reading a novel or textbook. I know your feeling towards The Tree Of Life but this is all the reasons why I hold it in such high regard. Your not experiencing the creation and evolution of life, your watching it. It holds the viewer in a sense as a spectator. As far as Days Of Heaven is concerned, it's the same efforts. You witness Richard Gere attack his boss, you watch these people run away from a distance, you see all around you, people resting, celebrating, playing. That what sets Malick apart from other filmmakers that would rather place you in the shoes of these characters.

The Night Of The Hunter:

[Show spoiler]I think Robert Mitchum's voice is going to haunt me. "I can hear you down there children. I feel myself getting awful mad." The Reverand Harry Powell has to be one of the most despicable, yet one of the greatest villains in film history. His constant conversations with God to justify his crimes to himself are ...downright disturbing. Laughton employs some awfully stunning gothic-horror atmospheres and moods combines some excellent shadow play cinematography. There's a reason this is considered one of the best films ever made.

[IronWaffle]

Originally Posted by mikesncc1701

Got around to watching quite a few of my blind buys lately. Keep in mind I simply pasted these reviews from another forum and are replies to other responses.

Days Of Heaven:

[Show spoiler]It would be easier to be able to grip more of an emotional attachment to those three characters and in effect, maybe grasp some of the feelings of betrayal and jealousy but to me, Malick would rather us witness these events than become a part of them. To be honest now that I think about it, Malick never gives too much screen time to just one character so that we may come to an understanding with them. Look at The Thin Red Line for instance. Sure you care whether these soldiers get blown to pieces but it's almost as if your observing the execution of an attack/defensive position instead of taking part in it. The New World feels the same way. As if your an outsider connected with neither the natives of newcomers, but that you witnessing a historical event, almost imagined as if you were reading a novel or textbook. I know your feeling towards The Tree Of Life but this is all the reasons why I hold it in such high regard. Your not experiencing the creation and evolution of life, your watching it. It holds the viewer in a sense as a spectator. As far as Days Of Heaven is concerned, it's the same efforts. You witness Richard Gere attack his boss, you watch these people run away from a distance, you see all around you, people resting, celebrating, playing. That what sets Malick apart from other filmmakers that would rather place you in the shoes of these characters.

The Night Of The Hunter:

[Show spoiler]I think Robert Mitchum's voice is going to haunt me. "I can hear you down there children. I feel myself getting awful mad." The Reverand Harry Powell has to be one of the most despicable, yet one of the greatest villains in film history. His constant conversations with God to justify his crimes to himself are ...downright disturbing. Laughton employs some awfully stunning gothic-horror atmospheres and moods combines some excellent shadow play cinematography. There's a reason this is considered one of the best films ever made.

Thanks for posting these. Thinking it over, I relate with your "spectator" comments. Lush and/or visually involving the film is, there is a definite emotional remove from the melodrama in Days of Heaven. Having seen the film only a few times, I tend to think of people as secondary to time and place. I sometimes wonder if I therefore like the film all the more for its failure to create more engaging characters that give greater depth to the sketched themes in the final piece.

[ShellOilJunior]

Might we expect announcements this Friday.........the 13th?

[Brad1107]

Granted I haven't seen The Passion since it was in cinemas but the point of the violence is to give you a real feel for what Jesus went through at the crucifixion yeah? Doesn't that all depend on where you put your faith? To me I have no belief in the bible as anything other than a book (whether about real people or not). So Jesus was just a man who accepted this punishment for nothing. How do you sympathize with that?

I understand it's not really meant to be your typical movie, and your understanding of it really depends on your own beliefs. But watching from an outsiders perspective it never really amounted to anything but torture porn for the religious.

Other than the violence (which is most of it), the only thing I remember from the film is the ridiculous portrayal of the devil as a bald woman, holding a baby that's suckling from its breast while bugs crawl around her face. Am I remembering that correctly? I could be wrong.

P.S. I was raised a Mormon and though I have left the church my entire family, immediate and extended, are still very much active. So I like to think i'm not completely ignorant to God and the bible.

[drbikeshorts]

Originally Posted by mikesncc1701

Got around to watching quite a few of my blind buys lately. Keep in mind I simply pasted these reviews from another forum and are replies to other responses.

Branded To Kill:

[Show spoiler]Although I enjoyed Tokyo Drifter, this did a lot more for me in terms of getting caught up with the characters and story. The sense of paranoia towards the end of the film is absolutely tops and keeps you glued waiting to see what's around the corner. Favorite part hands down though is when Hanada takes on his enemies at the breakwater. It's such a well executed scene down from using the car as a shield to simply driving over the last man. It definitely has a twisted sense of humor. Look no further than the main characters fetish and obsession with it. Loved this!

Made In U.S.A.:

[Show spoiler]Made In U.S.A. contains many Godard trademarks fused with a decades old genre and combines to form one of the director's most linear, yet one of his most experimental films. Anna Karina is lovely as the lead forced to mingle with bizarre characters as she investigates her case. Throw in a dash of fashion, wild colors, and political motives, you have one of Godard's finest films. I would like to note that I loved Jean-Pierre Léaud in a cameo appearance and the scene in the bar with the "bartender or Paul" contains some terrific wordplay and was probably my favorite scene in the film.

Days Of Heaven:

[Show spoiler]It would be easier to be able to grip more of an emotional attachment to those three characters and in effect, maybe grasp some of the feelings of betrayal and jealousy but to me, Malick would rather us witness these events than become a part of them. To be honest now that I think about it, Malick never gives too much screen time to just one character so that we may come to an understanding with them. Look at The Thin Red Line for instance. Sure you care whether these soldiers get blown to pieces but it's almost as if your observing the execution of an attack/defensive position instead of taking part in it. The New World feels the same way. As if your an outsider connected with neither the natives of newcomers, but that you witnessing a historical event, almost imagined as if you were reading a novel or textbook. I know your feeling towards The Tree Of Life but this is all the reasons why I hold it in such high regard. Your not experiencing the creation and evolution of life, your watching it. It holds the viewer in a sense as a spectator. As far as Days Of Heaven is concerned, it's the same efforts. You witness Richard Gere attack his boss, you watch these people run away from a distance, you see all around you, people resting, celebrating, playing. That what sets Malick apart from other filmmakers that would rather place you in the shoes of these characters.

The Night Of The Hunter:

[Show spoiler]I think Robert Mitchum's voice is going to haunt me. "I can hear you down there children. I feel myself getting awful mad." The Reverand Harry Powell has to be one of the most despicable, yet one of the greatest villains in film history. His constant conversations with God to justify his crimes to himself are ...downright disturbing. Laughton employs some awfully stunning gothic-horror atmospheres and moods combines some excellent shadow play cinematography. There's a reason this is considered one of the best films ever made.

Thanks for taking the time to share your thoughts.
Interesting observations that seem quite on the money. (Although I can't really say about Made In U.S.A. because it has probably been over ten years since I last saw it.
Except, I disagree about The New World - I think the voiceovers really give you a sense of the emotions and thoughts of the three leads.
I'm hoping Branded to Kill and Tokyo Drifter are delivered soon, because I'm itching to watch them back-to-back...

[P@t_Mtl]

After a weekend of Easter movie I have return to my Eclipse set, still on the Late Ozu set. Last night it was Late Autumn.

Three old friends and college mates remember the good times on the passing of one of their own. They soon try to help the widow of their departed friend in trying to get her 24 years old daughter married. The young woman done not wish to do so since it will now leave her mother alone with no one to take care of her. Very soon the four elderly conspirators come up with a plan that should convice the young woman to get married. Will it work or will their plan be discover?

As he was aging himself by the 60's Ozu started to look more and more at death in his stories and old age. The young must go on to their on life and not worry so much about the older generation but it's easier said than done. Do you leave a aging parent alone, with the chances that she or he could not take care of themselves?

It's quite something to see the changes in his movies as he himself was coming to the end of his own journey in this life. Ozu had a amazing talent to take his stories from everyday life and actually make them important to us even if it's things that we deal with everyday.

[DLizzle]

Originally Posted by DLizzle

I'm coming into The Last Temptation of Christ like I would any other movie, hoping to be interested by the story, characters, themes, etc.

I ended up liking this movie more than I thought I would, given the beginning. There were some interesting ideas presented that got me thinking on certain topics. I maybe wasn't thinking of the same things as the filmmakers, but I don't think that matters.

I always enjoy seeing David Bowie in a movie, and the "temptation"/ending was well done. My favourite part was the discussion between Willem Dafoe and Harry Dean Stanton near the end.

[Oblivion138]

Originally Posted by billzfan

I agree. Every version of the crucifixion was a sanitized version of it. The scourging that everyone thought was too graphic was what really happened. Most men did not survive it. It really did leave criss cross slashes that would tear away the skin. Crucifixion, despite the obvious creative license of carrying the full cross instead of just the beam as well as the nail being put directly in the palm instead of throught the wrists where the bone would actually support the body weight, are very accurate. I'm not saying the film isn't violent and grotesque. I'm just saying that the manner that Jesus died was violent and grotesque.

So that means that in order to really demonstrate how rape victims suffer, you'd have to show penetration and vaginal tearing? No, I don't buy that. There are more artful ways to handle suffering.

[DLizzle]

Originally Posted by mikesncc1701

Days Of Heaven:

[Show spoiler]It would be easier to be able to grip more of an emotional attachment to those three characters and in effect, maybe grasp some of the feelings of betrayal and jealousy but to me, Malick would rather us witness these events than become a part of them. To be honest now that I think about it, Malick never gives too much screen time to just one character so that we may come to an understanding with them. Look at The Thin Red Line for instance. Sure you care whether these soldiers get blown to pieces but it's almost as if your observing the execution of an attack/defensive position instead of taking part in it. The New World feels the same way. As if your an outsider connected with neither the natives of newcomers, but that you witnessing a historical event, almost imagined as if you were reading a novel or textbook. I know your feeling towards The Tree Of Life but this is all the reasons why I hold it in such high regard. Your not experiencing the creation and evolution of life, your watching it. It holds the viewer in a sense as a spectator. As far as Days Of Heaven is concerned, it's the same efforts. You witness Richard Gere attack his boss, you watch these people run away from a distance, you see all around you, people resting, celebrating, playing. That what sets Malick apart from other filmmakers that would rather place you in the shoes of these characters.

I'm not sure whether you meant it as a negative or positive comment, but I think in the case of The Thin Red Line particularly, the detachment is intended and is what makes the movie as great as it is. The lives and deaths of the soldiers, the outcomes of the battles, etc. mean everything to the people involved and even to human history, but they have a very different meaning in context of nature, the Earth, and the universe.

This idea is present throughout Malick's work (that I've seen), but I think it works the best by far in The Thin Red Line. In Days of Heaven (which I really like) and especially Tree of Life, I found it harder to connect the human story to the Earth story. I liked the Earth sequences and the human sequences in Tree of Life, but every time I tried to connect them in some way, it was a stretch. At the end I found myself asking, "why this story?" Maybe that's the point, I'm not sure.

[Brad1963]

PURPLE NOON was added to Criterion Hulu. Please tell me a Blu ray release is on its way!

[DetroitSquirreL]

Originally Posted by DLizzle

I'm not sure whether you meant it as a negative or positive comment, but I think in the case of The Thin Red Line particularly, the detachment is intended and is what makes the movie as great as it is. The lives and deaths of the soldiers, the outcomes of the battles, etc. mean everything to the people involved and even to human history, but they have a very different meaning in context of nature, the Earth, and the universe.

This idea is present throughout Malick's work (that I've seen), but I think it works the best by far in The Thin Red Line. In Days of Heaven (which I really like) and especially Tree of Life, I found it harder to connect the human story to the Earth story. I liked the Earth sequences and the human sequences in Tree of Life, but every time I tried to connect them in some way, it was a stretch. At the end I found myself asking, "why this story?" Maybe that's the point, I'm not sure.

thus the reason Ive become a huge Malik fan. I LOVE being the 3rd person in his films. Every director wants you to get all deep and involved into a character and distracts from the rest of the characters and surroundings. Its a original way to present a story. I always feel as I'm being read a poem/story from a narrator who wrote it. It makes my mind wander about all the happenings in the film. It opens your mind. MALIK FTW!

[mikesncc1701]

Originally Posted by DLizzle

I'm not sure whether you meant it as a negative or positive comment, but I think in the case of The Thin Red Line particularly, the detachment is intended and is what makes the movie as great as it is. The lives and deaths of the soldiers, the outcomes of the battles, etc. mean everything to the people involved and even to human history, but they have a very different meaning in context of nature, the Earth, and the universe.

This idea is present throughout Malick's work (that I've seen), but I think it works the best by far in The Thin Red Line. In Days of Heaven (which I really like) and especially Tree of Life, I found it harder to connect the human story to the Earth story. I liked the Earth sequences and the human sequences in Tree of Life, but every time I tried to connect them in some way, it was a stretch. At the end I found myself asking, "why this story?" Maybe that's the point, I'm not sure.

It's definitely a positive comment. Funny thing is, even through this sense of detachment, The Tree Of Life garnered a more emotional response from me actually to the point it was overwhelming at times. I traveled an hour to see this on the big screen last year and after it had ended, I swear it must have taken a solid 5 minutes before I could even say anything about it. The thing that still gets me is I can't decide if it was because I had just been bombarded for 2 1/2 hours of stunning beauty, or if I was actually more involved with the characters than his other films. And that's why it's my favorite film of last year. It still to this day after the first viewing (and one on my blu-ray) leaves me in a sense of wonderment and I find myself pondering about it. It truly is a masterpiece.

[shadedpain4]

I watched A Night To Remember for the first time today. I've never seen Cameron's Titanic, but i have a hard time imagining it being a better representation of that night. Has anyone around here seen both?

[fdm]

Originally Posted by lemonski

Is this the same for all the other US Studio Canal releases? Do they all come in a standard Blu-ray case? I'm thinking specifically of The Third Man, all the images I've seen of it show it in one of those crappy thin digibooks they use.

Couldn't say for sure, I've mostly stuck with the crappy thin digibooks from the UK (they're really not that bad).

Only own the US Delicatessen release, as it was significantly cheaper for a bit (gotta watch that someday), and it is a slip/case.

And I've only ever seen a few of the other US releases at B&N, including The Third Man, and don't recall ever seeing one that wasn't a slip/case. (Or possibly just a case, knowing B&N.) Caveats being I wasn't really looking all that closely at them, and I'm going from recollection. I'm pretty sure they're all slips/cases though.

[rkish]

Originally Posted by P@t_Mtl

After a weekend of Easter movie I have return to my Eclipse set, still on the Late Ozu set. Last night it was Late Autumn.

Three old friends and college mates remember the good times on the passing of one of their own. They soon try to help the widow of their departed friend in trying to get her 24 years old daughter married. The young woman done not wish to do so since it will now leave her mother alone with no one to take care of her. Very soon the four elderly conspirators come up with a plan that should convice the young woman to get married. Will it work or will their plan be discover?

As he was aging himself by the 60's Ozu started to look more and more at death in his stories and old age. The young must go on to their on life and not worry so much about the older generation but it's easier said than done. Do you leave a aging parent alone, with the chances that she or he could not take care of themselves?

It's quite something to see the changes in his movies as he himself was coming to the end of his own journey in this life. Ozu had a amazing talent to take his stories from everyday life and actually make them important to us even if it's things that we deal with everyday.

Thanks for the review P@t! I keep thinking about Late Spring coming out very soon and BFI releasing the Melodrama set in June. Early Spring and Tokyo Twilight...both of which I haven't seen in a while. I've never seen Woman of Tokyo...looking forward to that!

[Abdrewes]

Originally Posted by mikesncc1701

It's definitely a positive comment. Funny thing is, even through this sense of detachment, The Tree Of Life garnered a more emotional response from me actually to the point it was overwhelming at times. I traveled an hour to see this on the big screen last year and after it had ended, I swear it must have taken a solid 5 minutes before I could even say anything about it. The thing that still gets me is I can't decide if it was because I had just been bombarded for 2 1/2 hours of stunning beauty, or if I was actually more involved with the characters than his other films. And that's why it's my favorite film of last year. It still to this day after the first viewing (and one on my blu-ray) leaves me in a sense of wonderment and I find myself pondering about it. It truly is a masterpiece.

I hope the audience reaction to Tree of Life doesn't affect distribution for his next two. I live in El Paso and we only ever have two "indies" playing at any given time.

[IronWaffle]

Three posts that make me happy:

Originally Posted by Brad1963

PURPLE NOON was added to Criterion Hulu. Please tell me a Blu ray release is on its way!

This film deserves better treatment than its DVD. Would love to see it added.

Originally Posted by DetroitSquirreL

thus the reason Ive become a huge Malik fan. I LOVE being the 3rd person in his films. Every director wants you to get all deep and involved into a character and distracts from the rest of the characters and surroundings. Its a original way to present a story. I always feel as I'm being read a poem/story from a narrator who wrote it. It makes my mind wander about all the happenings in the film. It opens your mind. MALIK FTW!

Agreed. There are times during Tree of Life where I felt that distancing worked against the narrative when I was watching it the first time and yet I would quickly re-adjust my mental focus and find nuances to engage my mind. While I believe the film to have structural flaws I would gladly toss them aside out of visceral love for the films ambitions, audacity and willingness to put its heart on its sleeve.

Originally Posted by mikesncc1701

It's definitely a positive comment. Funny thing is, even through this sense of detachment, The Tree Of Life garnered a more emotional response from me actually to the point it was overwhelming at times. I traveled an hour to see this on the big screen last year and after it had ended, I swear it must have taken a solid 5 minutes before I could even say anything about it. The thing that still gets me is I can't decide if it was because I had just been bombarded for 2 1/2 hours of stunning beauty, or if I was actually more involved with the characters than his other films. And that's why it's my favorite film of last year. It still to this day after the first viewing (and one on my blu-ray) leaves me in a sense of wonderment and I find myself pondering about it. It truly is a masterpiece.

I went with a friend and former colleague of mine. I can't recall many of the details of our conversation afterwards, but I do remember that denotation (direct meaning) vs. connotative (indirect meaning) figured into our conversation. One of several reasons I think this film is divisive is that we are so attuned to denotative storytelling where we follow literal threads towards a conclusion that when a film veers as widely as this one does, it throws audiences off-course. Kind of like how Moby Dick bores folks with seemingly endless passages and chapters that have far less to do with the story itself than with conveying the sense of the world in which that story takes place. It seems to me Tree of Life is straightforward enough -- I should say simple enough -- that it isn't hard to grasp, but that its poetic license makes some upset because what's on screen could narratively be condensed, leaving more room for plot, exposition and melodrama (in the non-pejorative sense of the word) instead of the impressionistic editing and indirectly related dinosaur/astronomy sequences.

Sorry if that was pretentious, confusing or unclear. Right now, I'm all three.