The Criterion Collection

[A Sith Lord?]

Because of time constraints, tonight's movie will be Umberto D which was shorter overall run time than Paris, Texas , Anatomy of a Murder, or Wages of Fear.

[The Great Owl]

Amélie (Le Fabuleux destin d'Amélie Poulain) was a good choice to watch after Wings of Desire. These two movies have a similar wistfulness to them and the payoff is gratifying for both.

It's been a few years since I last watched my old DVD of Amélie, but it was still a no-brainer to upgrade the movie to Blu-ray a couple months back. I'm glad that I did, because this is one fine-looking Blu-ray transfer for a beautiful movie. It's one of those movies that I watched about a dozen times when I bought the DVD years ago, but eventually let rest on my shelf for a while, so it was refreshing to revisit the movie tonight via Blu-ray. I had a laugh at all of the actors whom I recognized from more recent movies this time around. The adult incarnation of the boy who lived in Amélie's old apartment, for instance, was played by a prominent actor who played the most unfortunate character in Michael Haneke's Caché (Hidden).

I'll always have a special fondness for Amélie, not just because I like Audrey Tautou, but also because this was one of the movies from the early 2000s that really ushered in my full-tilt fascination with foreign cinema.

Going back to the Criterion topic arena with the discussion of Wings of Desire...

Right now, I'm looking up songs from Crime And The City Solution on YouTube, because I have not listened to the band in a long while.

[bmp2000]

watched "The Blob" tonight on blu-ray from Netflix/Criterion. Thought the transfer was above average though there were certainly some scenes that looked better than others. This was my second viewing of the picture and I enjoyed it.

[vocalhouse]

Originally Posted by *PREACHER*

I'd like to know this as well...I have The Blob and Ministry of Fear in my cart, but want verification that it's still going to take the 50% off of one at checkout. Anyone?

[Hawkguy]

Originally Posted by The Great Owl

I'll always have a special fondness for Amélie, not just because I like Audrey Tautou, but also because this was one of the movies from the early 2000s that really ushered in my full-tilt fascination with foreign cinema.

Me too. I didn't see it in the early 2000s and and it didn't get me invested in foreign cinema...but it still has a very strong nostalgic influence on me every time I see it. It's the kind of film you can see several times and still feel mesmerized by its endless romantic charm, time after time.

[Hawkguy]

Originally Posted by vocalhouse

Neither of those titles are on the list of 'selected' ones..so I don't think it will work on them.

[tama]

Originally Posted by CoopFilm

Neither of those titles are on the list of 'selected' ones..so I don't think it will work on them.

The in-store advertisement stated ANY Criterion title. A sales rep adjusted the price at there kiosk. Not sure about on-line though.

Watched The Blob earlier tonight and I came away very impressed with the quality of the PQ.

[The Great Owl]

Originally Posted by CoopFilm

Me too. I didn't see it in the early 2000s and and it didn't get me invested in foreign cinema...but it still has a very strong nostalgic influence on me every time I see it. It's the kind of film you can see several times and still feel mesmerized by its endless romantic charm, time after time.

If I had to go back and name the first subtitled foreign movie that excited me, I would probably point to The Vanishing (Spoorloos), because I saw it during the early 1990s, or to the 1922 version of Nosferatu that I saw during the same time period. I cannot remember which of those I saw first. I also really enjoyed Das Boot when I first saw it during the mid-1990s, and that was the first foreign film that I owned, via VHS.

During the early 2000s, however, there were a lot of foreign subtitled films that hit the mass market. I saw Crouching Tiger, Hidden Dragon in 2000, I saw Amélie in 2001, I saw Hero, Infernal Affairs, and City of God in 2002, and so on. I discovered Akira Kurosawa not long after, and fell into collecting Criterions gradually after that.

I have never had an issue with reading subtitles, and I always forget that I'm reading them just minutes into a foreign film. In fact, I often prefer foreign cinema, because watching movies in a different language helps to transport me easily into a make-believe world for some reason. I did not fully immerse myself into foreign cinema until the early 2000s, though, when the popular theaters saw the above rash of films.

Whenever I revisit Amélie, I smile at the memory of really getting into foreign cinema at the time of that movie's release, and having new worlds open up to my awareness.

[A Sith Lord?]

Originally Posted by tama

The in-store advertisement stated ANY Criterion title. A sales rep adjusted the price at there kiosk. Not sure about on-line though.

Watched The Blob earlier tonight and I came away very impressed with the quality of the PQ.

Didn't work online for me.

There were select online titles (the ones that were eligible were ironically also carried in store, while ones like 400 Blows that weren't eligible had special delivery and were not eligible for in-store, so I assume the ones they carry in-store are "all" that the cashier was referring to).

[A Sith Lord?]

Just finished watching Umberto D.

What a powerful flick. Kind of like 400 Blows, you're constantly rooting for the underdog.

Amazing that the dog is what stopped him from committing suicide several times. Either the dog wouldn't let him get away, or he couldn't bring himself to get away from the dog. I must say the relationship with Maria kind of threw me off. I knew the purpose of her character, but I felt the way he left her left me longing for more satisfaction.

I probably said "Ohhh no" like 4 times in this flick, when he looked at the train tracks at night and the camera zoomed in to reinforce his suicidal thoughts, his comments to Maria about being tired of "a little of everything". Then of course the final showdown with the train.

Even though he was shizz out of luck most of the movie, his luckiest moment came when Daniela's mother refused to take Flike as a free gift, as Flike ended up saving his life. No doubt I was convinced if the girl in the park's family took Flike, he would've run in front of that train.

[Hawkguy]

Originally Posted by The Great Owl

If I had to go back and name the first subtitled foreign movie that excited me, I would probably point to The Vanishing (Spoorloos), because I saw it during the early 1990s, or to the 1922 version of Nosferatu that I saw during the same time period. I cannot remember which of those I saw first. I also really enjoyed Das Boot when I first saw it during the mid-1990s, and that was the first foreign film that I owned, via VHS.

I really can't say I remember my introduction to foreign film. I remember becoming familiar with some through Criterion back when I was 14/15...mainly starting with 60s French films and branching out.....though I can't really remember a time where I felt it was 'new' to me either.

Off-topic:

[Show spoiler]I watched Last Exit to Brooklyn earlier and am still trying to digest it. Not sure if I cared for it or not. I see the point in what it depicts, though I don't feel it does so effectively enough. Can anyone comment on it?

[Abdrewes]

Originally Posted by MasturB

Just finished watching Umberto D.

What a powerful flick. Kind of like 400 Blows, you're constantly rooting for the underdog.

Amazing that the dog is what stopped him from committing suicide several times. Either the dog wouldn't let him get away, or he couldn't bring himself to get away from the dog. I must say the relationship with Maria kind of threw me off. I knew the purpose of her character, but I felt the way he left her left me longing for more satisfaction.

I probably said "Ohhh no" like 4 times in this flick, when he looked at the train tracks at night and the camera zoomed in to reinforce his suicidal thoughts, his comments to Maria about being tired of "a little of everything". Then of course the final showdown with the train.

Even though he was shizz out of luck most of the movie, his luckiest moment came when Daniela's mother refused to take Flike as a free gift, as Flike ended up saving his life. No doubt I was convinced if the girl in the park's family took Flike, he would've run in front of that train.

Yes! This might be blasphemy, but, I got more emotional during this than Bicycle Thieves. I guess the plight of dogs and octogenarians gets to me. I can't wait to finally see it in HD soon

[Abdrewes]

Originally Posted by CoopFilm

I really can't say I remember my introduction to foreign film. I remember becoming familiar with some through Criterion back when I was 14/15...mainly starting with 60s French films and branching out.....though I can't really remember a time where I felt it was 'new' to me either.

Off-topic:

[Show spoiler]I watched Last Exit to Brooklyn earlier and am still trying to digest it. Not sure if I cared for it or not. I see the point in what it depicts, though I don't feel it does so effectively enough. Can anyone comment on it?

Off topic response

[Show spoiler] here's my jotted thoughts from a few months back;
This is such a bleak portrait of 1950's Brooklyn. It may be because of the novel, but this movie is pregnant with ideas. It explores the proletarian plight, homophobia, the immorality of the beatniks and a myriad of relevant issues. Dark, cold and dangerous alleys, out of work factory workers and hoodlums populate the frame. One gets the feeling of inescapable corruption and decay as it ties together the multiple stories.

A restless and mischievous prostitute (Jennifer Jason Leigh) rips off sailors with her violent, entitled gang by leading them down alleys for her goon pimps to jump. They are a rambunctious, greedy and homophobic sort whose morals are nonexistent as they spew their cruelty on all passersby. Later she meets a sailor after a rough night and the possibility of escape and love enters. The problem is, has she been so debased by Brooklyn that she doesn't consider the offer as a viable road?*

Other story lines deal with a Union strike, a factory worker's pregnant daughter, and a union head's love and infatuation with a transsexual male escort. As these various strand coalesce into a whole, the sense of place grows exceedingly rich. This isn't the glossed over vision of the 1950's. In fact, the reality of living in a low income community is never glossed over. Living areas are cramped and cluttered and suffocatingly closed in. Sweat, grease and dirt are almost always present on the faces of people we're following.

I would highly recommend this movie to someone not opposed to a depressing but enriching look at this certain time and place. Its absolutely forward thinking and ahead of it's time in the way it uncompromisingly deals with heavy subject manner without the safety not of typical Hollywood narratives. There's little hand holding and it's such a shame this film and Do The Right Thing were overlooked in 1989 by the Academy in favor of the safest of safe Hollywood issue movies: the nice, gentle and warm Driving Miss Daisy.

[Hawkguy]

Originally Posted by Abdrewes

Off topic response

[Show spoiler] here's my jotted thoughts from a few months back;
This is such a bleak portrait of 1950's Brooklyn. It may be because of the novel, but this movie is pregnant with ideas. It explores the proletarian plight, homophobia, the immorality of the beatniks and a myriad of relevant issues. Dark, cold and dangerous alleys, out of work factory workers and hoodlums populate the frame. One gets the feeling of inescapable corruption and decay as it ties together the multiple stories.

A restless and mischievous prostitute (Jennifer Jason Leigh) rips off sailors with her violent, entitled gang by leading them down alleys for her goon pimps to jump. They are a rambunctious, greedy and homophobic sort whose morals are nonexistent as they spew their cruelty on all passersby. Later she meets a sailor after a rough night and the possibility of escape and love enters. The problem is, has she been so debased by Brooklyn that she doesn't consider the offer as a viable road?*

Other story lines deal with a Union strike, a factory worker's pregnant daughter, and a union head's love and infatuation with a transsexual male escort. As these various strand coalesce into a whole, the sense of place grows exceedingly rich. This isn't the glossed over vision of the 1950's. In fact, the reality of living in a low income community is never glossed over. Living areas are cramped and cluttered and suffocatingly closed in. Sweat, grease and dirt are almost always present on the faces of people we're following.

I would highly recommend this movie to someone not opposed to a depressing but enriching look at this certain time and place. Its absolutely forward thinking and ahead of it's time in the way it uncompromisingly deals with heavy subject manner without the safety not of typical Hollywood narratives. There's little hand holding and it's such a shame this film and Do The Right Thing were overlooked in 1989 by the Academy in favor of the safest of safe Hollywood issue movies: the nice, gentle and warm Driving Miss Daisy.

Thanks for the thoughts. I agree that it was brimming with ideas....and I really loved those ideas. I wish it hit harder, though. Some of it came across as too exaggerated, which actually made it feel less gritty to me than intended, at times. Though, I enjoyed watching it and am glad to have blind-bought, it's something too full of rich potential to ignore.

The point you mention about her shutting off her emotions and burying them after having lived in such a state for so long is the point I found most interesting to see portrayed. Didn't completely feel the men were homophobic, though. Sure, they looked down on others, but I didn't sense that point too strongly, especially from the 'leader' character. I felt like there was something untold there that I wanted explored more.

[lemonski]

Originally Posted by hoytereden

One thing not often mentioned about Badlands is the humor. Usually don't associate Malick with that word but some of the dialogue and narration will make you smile or even laugh. It's absurd humor but it fits the characters.

If you want to really get an idea of Malick's humor, see if you can track down a copy of Deadhead Miles from 1973 (it may be up on YouTube). Malick wrote the screenplay, it's quite bizarre and very funny in a deadpan way. I can't really describe it other than it stars Alan Arkin as a long-haul trucker who speaks in non-sequiturs and has all these random encounters on the road.

Malick didn't direct it, but it is completely unlike any of his other work. (It also has one of my favorite cameos of all time)

[retablo]

Originally Posted by MasturB

Just finished watching Umberto D.

What a powerful flick. Kind of like 400 Blows, you're constantly rooting for the underdog.

Amazing that the dog is what stopped him from committing suicide several times. Either the dog wouldn't let him get away, or he couldn't bring himself to get away from the dog. I must say the relationship with Maria kind of threw me off. I knew the purpose of her character, but I felt the way he left her left me longing for more satisfaction.

I probably said "Ohhh no" like 4 times in this flick, when he looked at the train tracks at night and the camera zoomed in to reinforce his suicidal thoughts, his comments to Maria about being tired of "a little of everything". Then of course the final showdown with the train.

Even though he was shizz out of luck most of the movie, his luckiest moment came when Daniela's mother refused to take Flike as a free gift, as Flike ended up saving his life. No doubt I was convinced if the girl in the park's family took Flike, he would've run in front of that train.

It's refreshing to see new people being introduced to these films and actually enjoying the majority of them. I work in Hollywood and I'm around so many people who balk at anything b&W/subtitled/older... and these are the readers who give scripts a pass or fail, the people who's decisions can greenlight or kill a project. And it's sad, and a bit scary, when the people with all the influence don't know/don't like/or generally have no clue about anything other than Hollywood films of the last 30 years or so.

Kudos and continue watching!

[retablo]

Originally Posted by The Great Owl

If I had to go back and name the first subtitled foreign movie that excited me, I would probably point to The Vanishing (Spoorloos), because I saw it during the early 1990s, or to the 1922 version of Nosferatu that I saw during the same time period. I cannot remember which of those I saw first. I also really enjoyed Das Boot when I first saw it during the mid-1990s, and that was the first foreign film that I owned, via VHS.

During the early 2000s, however, there were a lot of foreign subtitled films that hit the mass market. I saw Crouching Tiger, Hidden Dragon in 2000, I saw Amélie in 2001, I saw Hero, Infernal Affairs, and City of God in 2002, and so on. I discovered Akira Kurosawa not long after, and fell into collecting Criterions gradually after that.

I have never had an issue with reading subtitles, and I always forget that I'm reading them just minutes into a foreign film. In fact, I often prefer foreign cinema, because watching movies in a different language helps to transport me easily into a make-believe world for some reason. I did not fully immerse myself into foreign cinema until the early 2000s, though, when the popular theaters saw the above rash of films.

Whenever I revisit Amélie, I smile at the memory of really getting into foreign cinema at the time of that movie's release, and having new worlds open up to my awareness.

You're quickly becoming one of my favorite posters. Not only do you have a nice knowledge of film, you seem to appreciate and want to learn more about films you've either seen or want to see. I enjoy your posts and writeups/insights after you watch a film... it's great to see such enthusiasm for such great films.

[drbikeshorts]

Originally Posted by The Great Owl

I just finished watching Wings of Desire, and am really glad that I upgraded this one. Another Criterion Blu-ray home run.

Nick Cave's performance of "From Here to Eternity", and the performance by Crime And The City Solution are both worth the price of admission on their own, but this movie also happens to be such a wonderful story.

I love the sheer joy that Peter Falk puts into his performance. It's such a cinematic ray of sunshine.
The library scenes are amazing, as care the scenes with the elderly man reminiscing as he walks through the cityscape.

I do not find this film boring at all. Far from it.

I'm now going to chase this down by watching Amelie.

I wish someone would make a Peter Falk plush doll for me to cuddle.

[deepbreathsanddeath]

Are we still expecting a Cronenberg box set of Shivers, Rabid, Scanners and The Brood this year?

[Fellini912]

Originally Posted by brandon_260

I'd really like to tackle the television version of Scenes from a Marriage. Any recommendations on where to go next? My favorite Bergman films are The Silence and Persona.

If you enjoyed Persona and The Silence, I would recommend Hour of the Wolf , Through A Glass Darkly and Winter light.

I am glad you enjoy Bergman. Take care.