I would like to see a director's cut of The Thin Red Line.
I'm definitely cool with the idea of seeing any and all director's cuts from Malick. He's my favorite current film director (as in my favorite film director who is still alive and still working on films).
Red Desert improves with each viewing. I'm not sure if it's my favorite Antonioni, but it's certainly up there (need to give L'Eclisse another viewing). Certainly one of the greatest color films ever (and most of the colors are muted!). It probably best defines Antonioni and Vitti's thematic concern.
I'm definitely cool with the idea of seeing any and all director's cuts from Malick. He's my favorite current film director (as in my favorite film director who is still alive and still working on films).
Figured people would be interested in Malick news. Cinematographer Emmanuel Lubezki says,
Tree of Life:
I don’t even know the total [amount of footage that was shot], it was a huge amount of film, because he shot so many scenes. And I’m pretty sure he’s doing a director’s cut DVD of Tree Of Life, and that will have some of those scenes deleted [placed back] in. But for the theatrical release, he really thought that it was going to be too much, and he just couldn’t put it all in.
Voyage of Time:
“Voyage of Time is supposed to come out, I think, 2014. It’s all planned, it’s got a release, it has a distributor — it’s IMAX, it’s a big IMAX film — I think it has a date and all of that,” he explained.
That was actually Malick's editor Billy Weber who said that, not Lubezski.
Now, an Overall Top Ten Movies List would probably go something like this...
1. Le Samouraï
2. Dr. No
3. Army of Shadows
4. Le Cercle Rouge
5. Casino Royale (2006)
6. North by Northwest
7. King Kong (1933)
8. Stand By Me
9. Escape from Alcatraz
10. The Shawshank Redemption
I went back and found an older post from this past December in the Top Ten Movies Master Thread in the Movies forum to compare it with what I just posted. Here goes my December Top Ten...
1. Le Samouraï
2. Casino Royale (2006)
3. North by Northwest
4. Dr. No
5. The Shawshank Redemption
6. King Kong (1933)
7. Army of Shadows
8. Le Cercle Rouge
9. Stand By Me
10. Escape from Alcatraz
It's funny that they're the exact same movies, but simply shifted around in the ranking.
I guess that I'm more predictable than I thought.
Top 12 Criterion (Blind Buys) currently owned that engaged me. No Asian films are listed because I like them all, even the bad ones.
Wings of Desire
Beauty and the Beast
Army of Shadows
Le Cercle Rouge
The Battle of Algiers
The Double Life of Veronique
Vivre Sa Vie
Three Colors Trilogy
Letter Never Sent
The Secret of the Grain
Kes
The Music Room
I would take a GIANT no thank you on La Reine Margot. However if you are talking about the 1954 version then yes I am with you on that one
EDIT : Just notice the image it is the 1954 version
I am unsure what image you are referring to, but the resto is indeed for Chereau's 1994 film. Which has appeared in a couple of different versions.
Info on the resto:
Quote:
LA REINE MARGOT by Patrice Chéreau (1994, 2h39) presented by Pathé.
Twenty years have passed since Patrice Chéreau, produced by Claude Berri, shot La Reine Margot, which he presented at Cannes the following year. Now twenty years on, ten years after serving as Chairman of the Jury, Patrice Chéreau returns to the Croisette, in the company of some actors from the film, including Daniel Auteuil, member of the Cannes 2013 Jury.
Ahead of the 20th anniversary of the film’s release, Pathé restored the film in 4K in 2013 and entrusted the work, under the direction of Patrice Chéreau, to Eclair Group for the image and L.E Diapason for the sound.
Here's the main line-up with the info on the new prints that will be screened:
Quote:
This year’s programme of Cannes Classics is made up of twenty feature-length films and three documentaries. The films will be screened according to the wishes of copyright holders in 35mm, DCP 2K or DCP 4K.
As announced previously, Kim Novak will come to present the restored print of VERTIGO by Alfred Hitchcock. Furthermore, the Cannes Classics 2013 program will be placed under the sign of a movie having marked the history of the Festival de Cannes LA GRANDE BOUFFE by Marco Ferreri, who aroused during her presentation in 1973 one of the biggest scandals of Croisette.
The films will be screened according to the wishes of the copyright holders, in 35mm, DCP 2K or DCP 4K.
• To mark the 50th anniversary of one of the best known and most controversial epics in the history of the cinema, 20th Century Fox, in partnership with Bulgari, presents a restored copy of Joseph L. Mankiewicz’s CLEOPATRA (1963, 4h03).
Digital restoration was carried out in 4K by 20th Century Fox. The screening will take place in the presence of Richard Burton’s daughter Kate Burton, and Chris Wilding, Elizabeth Taylor’s son.
• The film of the 1972 Munich Olympic Games: VISIONS OF EIGHT (1973, 1h49) by Youri Ozerov, Milos Forman, Mai Zetterling, Claude Lelouch, Arhur Penn, Michael Pfleghar, John Schlesinger, and Kon Ichikawa. Presented by the International Olympic Committee.
Digital restoration 4K from the original negative by Warner Bros. Motion Picture Imaging, Burbank. Sound restoration from the original magnetic tracks by Audio Mechanics, Burbank.
• LA REINE MARGOT by Patrice Chéreau (1994, 2h39) presented by Pathé.
Twenty years have passed since Patrice Chéreau, produced by Claude Berri, shot La Reine Margot, which he presented at Cannes the following year. Now twenty years on, ten years after serving as Chairman of the Jury, Patrice Chéreau returns to the Croisette, in the company of some actors from the film, including Daniel Auteuil, member of the Cannes 2013 Jury.
Ahead of the 20th anniversary of the film’s release, Pathé restored the film in 4K in 2013 and entrusted the work, under the direction of Patrice Chéreau, to Eclair Group for the image and L.E Diapason for the sound.
• As part of Cannes 2013’s celebration of the centenary of the birth of Indian cinema, RDB Entertainments presents CHARULATA (1964, 1h57), one of the masterpieces of Satyajit Ray (1921-1992), a filmmaker who figured in the world pantheon from his beginnings and whose work is gradually being restored in his country of origin.
The film is presented in a copy restored from the negative, restoration supervised by RDB Entertainments and carried out in Studios Pixion in Bombay, India.
• Another celebration, that of the 110th anniversary of the birth of Japanese filmmaker Yasujirô Ozu: Schochiku Studios continue the restoration of his immense body of work with the presentation of SANMA NO AJI (AN AUTUMN AFTERNOON) (1962, colour, 2h13), the filmmaker’s last film.
Digital restoration by Shochiku Co., Ltd., the National Film Center and the National Museum of Modern Art, Tokyo. The film will be distributed in France by Carlotta Films.
• LE JOLI MAI by Chris Marker and Pierre Lhomme (1963, new length 2013: 2h25) distributed by La Sofra and Potemkine Films.
When the project to restore Le Joli Mai was launched, Chris Marker was still with us. He died on 29th July 2012, and the Cannes screening of this film, now very rare, will be a tribute to the filmmaker by the Festival de Cannes and his friends, including Pierre Lhomme, co-director of the film who also supervised the restoration.
The photochemical restoration followed by digitization and restoration of the original film in its complete version were carried out by Mikros Images with the support of CNC/Archives Françaises du Film. According to the wishes of Chris Marker, Pierre Lhomme, co-director of the film, then made some twenty minutes of cuts for the restored version.
The 2K scans, and restoration of the image and sound were carried out by the Mikros Images laboratory.
• GOHA by Jacques Baratier (1957, 1h18)
As it does every year, Archives Françaises du Film du CNC present one of their restorations of French film heritage. This year the honour goes to a rarely seen filmmaker, Jacques Baratier, director of the 1967 film Le Désordre à vingt ans, thanks to the support of his daughter Diane. It should be recalled that Goha, presented at Cannes in 1957 under the Moroccan flag, was Claudia Cardinale’s first film and that Omar Sharif, who came to Cannes for the first time with Youssef Chahine, appeared in it as Omar Cherif.
Restoration from the negative by Archives Françaises du Film du CNC in collaboration with Diane Baratier. Digital restoration of the sound (originally in mono).
• The indefatigable Martin Scorsese carries on with the restoration of historical masterpieces of contemporary film from New York, thanks to the Film Foundation. While waiting to see his next excursion into Italian film, it turns out he has found the financing to present a 4K restored copy of Francesco Rosi’s LUCKY LUCIANO (1973, 1h55).
Restoration financed by the Film Foundation and the Hollywood Foreign Press Association and carried out by the Cinémathèque de Bologne at the L’immagine Ritrovata laboratory, in collaboration with Cristaldi Film and Paramount Pictures.
• IL DESERTO DEI TARTARI (THE DESERT OF THE TARTARS) by Valerio Zurlini (1976, 2h20).
Taken from the novel by Dino Buzzati, The Tartar Steppe brings together Vittorio Gassman, Philippe Noiret, Max von Sydow, Jean-Louis Trintignant, Francisco Rabal, and Fernando Rey, not forgetting Jacques Perrin who produced the film. No longer possible to screen, it was time to restore it.
Digital conversion by Digimage Classics. 4K Image restoration from the original negative with the consent of Cinecitta and under the supervision of Luciano Tovoli, the film’s director of photography. Sound restoration by Gérard Lamps. Produced by Galatée Films and distributed in France from 12th June by Les Acacias. World sales: Pathé International.
• THE APPRENTICESHIP OF DUDDY KRAVITZ by Ted Kotcheff (1974, 2h)
Known worldwide as the director of the first Rambo, Ted Kotcheff (born 1931 in Toronto) is also the stage director of the great Australian classic Wake in Fright (1971), Who is Killing the Great Chefs of Europe (La grande Cuisine, 1978) and The Apprenticeship of Duddy Kravitz, with Richard Dreyfuss, who had a major international career. The film will be screened in the presence of Ted Kotcheff, the restoration and production crews, as well the staff of the Toronto international festival.
Digital restoration in 2K by the crew of Technicolor Creative Services Toronto. The film was cleaned frame by frame. Colour and sound correction was supervised by Ted Kotcheff. The project was financed by The Academy of Canadian Cinema and Television, Astral, Technicolor Creative Services Canada, Telefilm Canada, The National Film Board of Canada and La Cinémathèque Québécoise.
• LES PARAPLUIES DE CHERBOURG (THE UMBRELLAS OF CHERBOURG) by Jacques Demy (1964, 1h31)
Following on from La Bataille du Rail by René Clément and Il gattopardo (The Leopard) by Luchino Visconti, here comes another Palme d’or now reserved and visible in digital. As part of the exhibition taking place at the Cinémathèque française (until 4th August 2013), a restoration of the complete filmography of Jacques Demy.
A digital restoration in 2K from the 2K scan of the trichrome selection, made by Ciné Tamaris at the Digimage laboratory, with the support of the Festival de Cannes, LVMH, the City of Cherbourg, the Basse-Normandie region and a crowd-funding campaign on kisskissbankbank. All the restoration work was supervised by Agnès Varda and Rosalie Varda-Demy. Mathieu Demy supervised the calibration.
• HIROSHIMA MON AMOUR by Alain Resnais (1959, 1h32)
Last year saw Alain Resnais presenting Vous n’avez encore rien vu (You Ain't Seen Nothin' Yet) in competition, and this spring 2013, he is shooting his new film, Aimer boire et chanter. Hiroshima mon amour was his first fiction film, produced by Anatole Dauman, whose daughter Florence looks after the catalogue, and presented at Cannes in 1959. Here we see him presented reborn in sparkling digital form.
The restoration in 4K was carried out from the original negative by Argos Films, the Technicolor Foundation, the Groupama Gan Foundation and the Cineteca di Bologna, with the support of the CNC. It was supervised by the director of photography Renato Berta. The work was done by L’Immagine Ritrovata laboratory with manufacture of conservation materials as well as digital and 35 mm copies for distribution. Scheduled for re-release in French cinemas on 17th July 2013.
• BOROM SARRET by Ousmane Sembene (1963, 20’) and MANILA IN THE CLAWS OF LIGHT by Lino Brocka (1975, 2h04) will be presented by the World Cinema Foundation, an association launched in Cannes in 2007 by Martin Scorsese and a number of filmmakers, in order to restore treasures from around the globe, especially from those countries that have no tradition of heritage preservation.
Sembene Ousmane’s short film has been restored by the L’Immagine Ritrovata laboratory and the Éclair laboratory, in collaboration with the Institut National de l’Audiovisuel. Lino Brocka’s film was digitally restored in 4K also by L’Immagine Ritrovata, supported by the Philippines National Council.
• THE LAST DETAIL by Hal Ashby (1973, 1h44)
To mark the occasion of the 40th anniversary of its cinema release, Sony Pictures is giving a second lease of life to one of the great American films of the 1970s: Hal Ashby’s The Last Detail, by now unwatchable on the big screen. It will be recalled that Jack Nicholson won the Male Acting prize when the film was presented at Cannes in 1973.
Digital restoration in 4K by Sony Pictures carried out by Grover Crisp at Sony Pictures Entertainment – Sony Pictures Colorworks. Cinema release scheduled for November 2013 by Park Circus Films.
• THE LAST EMPEROR 3D (LE DERNIER EMPEREUR) (1987, 2h43) by Bernardo Bertolucci
Restoration in 4k by Recorded Picture Company and Repremiere Group in Technicolor Rome’s laboratories. The restoration was supervised by Bernardo Bertolucci, by the producer Jeremy Thomas and the cinematographer Vittorio Storaro. The conversion to 3D was done by Prime Focus.
• FEDORA REMASTERED by Billy Wilder (1978, 1h50)
FEDORA is Billy Wilder’s second-to-last film and was originally presented Out Of Competition in Cannes in 1978. It is one of Wilder’s most underestimated films and can been seen as the testimonial of the great director of “Sunset Boulevard” and “The Apartment”. It stars Academy® Award winner William Holden ("Stalag 17", "The Bridge on the River Kwai") and Marthe Keller ("Marathon Man") in the lead roles, next to a roster of high-caliber international stars such as Henry Fonda, José Ferrer, Frances Sternhagen, Michael York, Hildegard Knef and Mario Adorf.
Restoration by Bavaria Media in cooperation with CinePostproduction, Germany. The source material for the restoration were the original picture negative and sound elements. Custom solutions in the 2K digital restoration workflow were designed with the aim to preserve the original look of the work in the new release for cinema and BluRay.
• PLEIN SOLEIL by René Clément (1960, 1h55)
The film was restored in 4K by Studio Canal and La Cinémathèque francaise with the support of the Franco-American cultural fund (DGA, MPAA, SACEM, WGAW). The work was done by L’Immagine Ritrovata in Bologna.
Pro-B
Last edited by pro-bassoonist; 05-02-2013 at 07:17 PM.
I actually think she is very popular with the indie crowd but, unfortunately, she has not and probably will never top what she did with Lost In Translation. Unlike Wes Anderson (who I really like btw), though, she is at least trying to mix it up. However, I think her subsequent films after LIT have been subpar.
Quote:
Originally Posted by Abdrewes
I think the indie/hipster crowd has discovered her. Lost in Translation was a huge success. Also, how can you use "pop art" and "muted" in the same sentence?
I'm guessing I'm younger than most people here and while I'll have a conversation with people (people who are not glued to the internet) every now and again about Wes Anderson, I have talked to a grand total of ZERO people in real life about Coppola. I realize this is purely anecdotal but it's the general impression I get. Then there is the generally low demand for her films to get released. A movie in 2003 was a success, but where has the support been since then? 10 years is a long time, we'll see how Bling Ring does but if the thread in the movies section is any indication the majority of people are going to see it for Watson and the subtext will be so far over their heads it may as well not even exist.
Her films like Marie Antoinette were very bright and bold like pop art but her other offerings can be very muted, hence why they can both co-exist in her filmography. I was referring to her body of work and not a single film.
Her films like Marie Antoinette were very bright and bold like pop art but her other offerings can be very muted, hence why they can both co-exist in her filmography. I was referring to her body of work and not a single film.
It seems as if you conflated the two in your last post. But I can see what you are trying to say. Other than parts of Somewhere, her films aren't exactly muted. Introspective and atmospheric, yes, but not muted. The emotions are all there on the surface for you to take in.
It's a shame that only two of her films are on BluRay though
I am unsure what image you are referring to, but the resto is indeed for Chereau's 1994 film. Which has appeared in a couple of different versions.
Info on the resto:
Here's the main line-up with the info on the new prints that will be screened:
Pro-B
From the image that was in your post back a few pages, I first figured it was the 1954 version that was going to be release which I would go for. I have no interest in the 1994 version. No offense to anyone but it's one of the most over hyped, boring, piece of crapoid ever put on film
From the image that was in your post back a few pages, I first figured it was the 1954 version that was going to be release which I would go for. I have no interest in the 1994 version. No offense to anyone but it's one of the most over hyped, boring, piece of crapoid ever put on film
You said much the same thing about Last Year at Marienbad, so maybe I should give Margot a try
I never actually bother placing my top ten on here, so I will give it a try now. Word of warning however don't expect to see just Blu-ray releases
1. Late Autumn
2. Alexander Nevsky
3. Seven Samurai
4. Charade
5. Les Vacances De Monsieur Hulot
6. The Great Dictator
7. Tokyo Chorus
8. I Am Waiting
9. Mister Thank You
10. In The Mood For Love
We need Criterion to release a Paul Verhoeven flick on BluRay. My personal favorite us Turkish Delight. Rutger Hauer gives an incredible performance in that film.
I've heard great things about that one. I would definitely blind buy the BluRay release should we ever get so lucky.
Have you seen Turkish Delight oildude? It's been a year since I saw it and I still remember it as if I saw it yesterday. It's probably one of my favorite romance films (word of caution, it's not exactly a family film).
Lost in Translation is my favorite film ever and I would be more than happy to see it come to the Criterion Line.
That being said...Godfather III doesn't exist. I've tried to watch it many times and I just turn it off. Godfather II has enough closure for me.
Is it dead to you . . . it sleeps with the fishes? I've never seen the third one myself, only the first two, but I've got the third one lined up to watch soon. And I agree with you on Lost in Translation, I'd love its inclusion in the collection.
From the image that was in your post back a few pages, I first figured it was the 1954 version that was going to be release which I would go for. I have no interest in the 1994 version. No offense to anyone but it's one of the most over hyped, boring, piece of crapoid ever put on film
This is a very, very serious offense, Pat
It is one my all-time favorite films
Perhaps a duel in the future. You pick the weapons
All countries
Argentina
Austria
Belgium
Brazil
Bulgaria
Chile
China
Colombia
Cyprus
Czech Republic
Estonia
Denmark
Finland
Greece
Hong Kong
Hungary
Iceland
Indonesia
Ireland
Israel
India
Latvia
Lithuania
Malaysia
New Zealand
Norway
Philippines
Poland
Portugal
Romania
Russia
Singapore
South Africa
South Korea
Sweden
Switzerland
Taiwan
Thailand
Turkey
Ukraine
United Arab Emirates
I think the indie/hipster crowd has discovered her. Lost in Translation was a huge success. Also, how can you use "pop art" and "muted" in the same sentence?
Good point sir good point! I hope you enjoy it.
Linear Mode
