The Criterion Collection

[IronWaffle]

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.

Thank you for posting this and whetting my appetite for more Ozu.

I just watched Tokyo Story, my first Ozu, this weekend. Even though the print was a bit shabby, I'm so glad I saw it on the big screen considering how restrained the performances are. He really is a master at setting up a sense of place and character through little moments, allowing them to pile up in ways that seem inconsequential. What was most satisfying was how all those moments, even those not directly relating to the death at the end of the second act, gave me a greater sense of empathy and involvement while watching this family's varied ways of mourning because it keyed me into behaviors rather than explanations. It was masterfully heart-breaking without ever forcing emotion to the forefront through clumsy dialogue, ham-fisted scoring or any other tricks employed throughout cinema's history. I was not the only one sniffling in the theater and am probably not the only one now who will hear the father's simple refrain "yeah/yah" in their mind and be haunted by all that's conveyed in the space around his non-specific communication.

In a strange turn of events, I learned the next morning that my oldest friend's father passed away that same day. When I learned the news I was more deeply affected than I would have thought. It was as if the film cracked open a door, primed a pump... use the cliche of your choice. I'm reminded of one of art's less talked about attributes, one that requires attention, focus and intent on the viewer's part: to make the passive, vicarious act of watching into a vital, visceral act of understanding. It is helping me mourn and I'll always link Ozu to this event.

In the coming weeks I'll be seeing Late Spring, Early Summer and Tokyo Twilight, all of which I expect I will add to my wishlist and, eventually, to my shelf.

[billzfan]

Originally Posted by Oblivion138

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.

There are all sorts of ways to handle violence within the art of cinema. I'm not condoning or condemning Mel Gibson's approach. I'm just merely saying that he wanted to create a real depiction of the violence involved in scourging and crucifying a man in 1st century Jerusalem. For some Christians, it finally gave them perspective on exactly what was entailed in the suffering and death of Christ and the sacrifice he made freely to save mankind. It sounds like it's not your cup of tea and I understand that but it doesn't relate to a rape scene because that's an act of victimization and abuse to another person for the gratification of the perpetrator. The Good Friday experience, despite its horrific violence, has a deeper spirtitual meaning.

[SpiderBaby]

Originally Posted by Brad1963

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

And the first Rivette film, also more Czech films that was rumored for more Eclipse sets.

[Brad1963]

Originally Posted by SpiderBaby

And the first Rivette film, also more Czech films that was rumored for more Eclipse sets.

Nagisa Oshima's Night and Fog in Japan, The Sun's Burial, and Cruel Story of Youth all from 1960 were added. That would be a terrific Eclipse set.

[Yami]

They deserve to be mainline releases - they're far superior to In the Realm of the Senses and Empire of Passion. Still no word on Boy unfortunately.

[rkish]

Originally Posted by IronWaffle

Thank you for posting this and whetting my appetite for more Ozu.

I just watched Tokyo Story, my first Ozu, this weekend. Even though the print was a bit shabby, I'm so glad I saw it on the big screen considering how restrained the performances are. He really is a master at setting up a sense of place and character through little moments, allowing them to pile up in ways that seem inconsequential. What was most satisfying was how all those moments, even those not directly relating to the death at the end of the second act, gave me a greater sense of empathy and involvement while watching this family's varied ways of mourning because it keyed me into behaviors rather than explanations. It was masterfully heart-breaking without ever forcing emotion to the forefront through clumsy dialogue, ham-fisted scoring or any other tricks employed throughout cinema's history. I was not the only one sniffling in the theater and am probably not the only one now who will hear the father's simple refrain "yeah/yah" in their mind and be haunted by all that's conveyed in the space around his non-specific communication.

In a strange turn of events, I learned the next morning that my oldest friend's father passed away that same day. When I learned the news I was more deeply affected than I would have thought. It was as if the film cracked open a door, primed a pump... use the cliche of your choice. I'm reminded of one of art's less talked about attributes, one that requires attention, focus and intent on the viewer's part: to make the passive, vicarious act of watching into a vital, visceral act of understanding. It is helping me mourn and I'll always link Ozu to this event.

In the coming weeks I'll be seeing Late Spring, Early Summer and Tokyo Twilight, all of which I expect I will add to my wishlist and, eventually, to my shelf.

Do you own a region free player? If so, then your options abound with Ozu releases. Criterion is releasing their first Ozu blu, with Late Spring...which I think has replaced Tokyo Story as one of my favorite Ozu films. If you are region free, then BFI just released The Student Comedies recently and I don't think Criterion will release any of those films. They also have another set of films coming out in June...

[P@t_Mtl]

Originally Posted by rkish

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!

Yes the next little while will really help to sastify my Ozu craze, I also have to think about getting the two Mizoguchi from MoC

[billzfan]

Is there a good website for potential Criterion blu-ray releases? I'm hoping for a bunch Kurosawa, Fellini, and Bergman titles and was wondering if there were any rumors they might be on the way

[P@t_Mtl]

Originally Posted by IronWaffle

Thank you for posting this and whetting my appetite for more Ozu.

Glad to see someone else enjoying his movies. It's funny because the stories he pick are things that mostly each and everyone of us could and can experience in our regular life, family, friends, love, friendship...and yet he as such a way of presenting these normal subject that it's almost as if you never seen them before.

[rkish]

Originally Posted by P@t_Mtl

Yes the next little while will really help to sastify my Ozu craze, I also have to think about getting the two Mizoguchi from MoC

Same here on the Mizos...and I'm debating about whether I want one or both of the MoCs or getting the Artificial Eye boxset...

[P@t_Mtl]

Originally Posted by billzfan

Is there a good website for potential Criterion blu-ray releases? I'm hoping for a bunch Kurosawa, Fellini, and Bergman titles and was wondering if there were any rumors they might be on the way

There is always rumors and the hints are often given by Criterion in all sorts of places (ex Facebook) You may want to join the Criterion rforum and I think there is also another site that talk about Criterion, Criterion Cast or something like that. I am sure someone will correct me

[ccfixx]

Originally Posted by billzfan

Is there a good website for potential Criterion blu-ray releases? I'm hoping for a bunch Kurosawa, Fellini, and Bergman titles and was wondering if there were any rumors they might be on the way

This thread over at criterionforum stays up-to-date with future, or hinted at, Criterion releases.

[mikesncc1701]

Originally Posted by IronWaffle

Three posts that make me happy:
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.

As you said it's very divisive. It seems narrative is always second to Malick who'd rather put the exploration experience of the environment at your feet for you to dig through and all the better for it. This man captures settings like no other filmmaker in the history of cinema. Even Kubrick with his sharp eye for detail never managed to scrape the existence of life out of a frame to let everyone play around with it. Not to denounce Kubrick in any way, he is my favorite filmmaker, but Malick truly stuns and one ups himself with each film.

On another note I just finished up my The Last Temptation Of Christ blu-ray. I haven't seen this in probably 8 years and I had very different views at that time. I didn't care for it much at the time but years later felt the need to revisit. What better time to do it than on blu? This is a remarkable film and the effort from all involved really show. I think despite religious views and opinions, films like this should be taken for what they are, technical or otherwise. The DTS HD-MA track is very aggressive at times and has a nice balanced sound field for the most part. The picture mediates between great and average although I'd say most of it is inherent from the source so you can't really falter it for that. Really glad I picked this up (especially for 14.99 during the DeepDiscount sale).

[billzfan]

Originally Posted by ccfixx

This thread over at criterionforum stays up-to-date with future, or hinted at, Criterion releases.

Thanks for the link. I'm excited to see that Rashomon is in the works as well as Wild Strawberries

[MikeCL]

Watching A night to remember now it looks good only spotted one error in which the Californian name was reversed in one shot.

It moves pretty quick.. 39 min in and the ship is already taking on water.

[IronWaffle]

Originally Posted by billzfan

Thanks for the link. I'm excited to see that Rashomon is in the works as well as Wild Strawberries

Yesterday I was at a screening of Rashomon that opened with a card indicating it was restored in 2008. I'm not astute enough to go into detail, but I'd love to see it on Blu.

Wild Strawberries is among my favorite movies and I'd love to upgrade even if just so I could pass along my DVD to introduce someone else to it.

Also from that list are two Bressons from the recent screenings in DC (which I believe also played in Chicago this year): The Devil Probably and A Man Escaped (what felt like his most accessible film). I'd rather they upgrade Mouchette and release either Une Femme Douce or L'Argent

[Abdrewes]

Originally Posted by rkish

Same here on the Mizos...and I'm debating about whether I want one or both of the MoCs or getting the Artificial Eye boxset...

Have you seen Still Walking? Very much like Ozu.

[IronWaffle]

Originally Posted by Abdrewes

Have you seen Still Walking? Very much like Ozu.

Great film. (Also on Netflix Streaming for anyone curious.)

[jayputter]

I know there's very little chance of any of the OOP titles coming back into circulation, but does Criterion have any history of licensing their supplemental features to other companies? I know there was a persistant rumor that the MGM release of "This Is Spinal Tap" would feature material from both DVD releases, but it never happened. I was never sure if this was just one of those internet rumors based on nothing, or things just fell through for rights issues.

[retablo]

Originally Posted by Oblivion138

I'd have to assume it's because of the "All the Right Moves - censored" thread.

Yep! LOL