The Criterion Collection

[The Great Owl]

Originally Posted by Thebunk

I could not disagree more. Actually this is my pet peeve with all hailed classics; people seem to purposely gloss over or ignore terrible acting because a film has some other positive or even influencing attributes on its art form. Not sure why people cannot say something akin to the following:

"Kurasowa's Rashomon turned the traditional film narrative on its head and since then, has influenced many filmmakers and is a true classic in the sense. The story could have failed in most peoples hands however tight direction along with the beautiful cinematougraphy ensure the film does not spin out of control or lose its focus. That said, the acting is laughable at times with actors flailing themselves around and making goofy faces like a 4 years child might as they may when horsing around with their grandfather."

I've always assumed that Kurosawa's films took cues from the expressionism in silent movies, but I still catch your drift.

An extreme case in point is Bokuzen Hidari in Seven Samurai. Hidari plays the timid elderly man, Yohei, who always collapses in terror at the mere thought of bandits. His scenes accentuate the desperation of the villagers, but they're also impossible for me to watch with a straight face because his facial expressions are so overwrought.

The comical aspects may have been intentional, though. Whenever I watch classic films in theater settings with crowds (The Birds, the original 1933 King Kong, etc.), I am always struck at how many scenes come across as comical when viewed with a large audience. These older films had a balance of tension and hilarity that many present-day films lack, and they're presented simply as entertainment, without the need of genre compartmentalization. I'd love to see Rashomon or Seven Samurai in a crowded theater.

[The Great Owl]

Originally Posted by baheidstu

Mitchum's Farewell My Lovely is a far more straight forward noir, it really doesn't have that 70s attitude to it.

I revisited the initial movie adaptation, Murder, My Sweet, early yesterday. The title was altered at the time, because filmmakers did not want audiences to be reminded of a musical that also starred Dick Powell. Murder, My Sweet is an amazing film, although the plot details are head-scratchers during the first few viewings...or during every viewing. It's almost like a James Bond film, where the point-to-point plot specifics are really not the point, but the final result is something glorious. Claire Trevor, who starred in John Ford's Stagecoach, is a cool femme fatale.

I've gone back to the DVD format this weekend by watching the Film Noir Classics Collection box set (Murder, My Sweet, Out of the Past, The Set-Up, Gun Crazy, The Asphalt Jungle) to cap off my film noir marathon and to get ready for the Criterion releases of Rififi and Thief. I've seen all of these movies before in past years, but it's great to go back through them on my high definition television (instead of the tube television that I owned for 15 years). I really really hope that these movies receive Blu-ray treatment someday.

Actually, and I noted this in the forum recently, Gun Crazy was just released on Blu-ray in France, and DVDBeaver gave it a favorable review. I'd love to see Criterion release it, but I'd also love to see anybody release it on these shores. I just finished revisiting Gun Crazy this afternoon, and it's such a gripping flick for the time.

I'm about to revisit The Asphalt Jungle in a few minutes, and that will be a perfect lead-in to seeing Rififi again in a few days.

[JJJ225]

Originally Posted by Thebunk

Regarding Kubrick, I think all of his films have great acting and are not contained within a time period. Are you referring to the gang members in Clockwork Orange? Really not sure.

Really all post-Paths Kubrick I guess. Peter Sellers in Lolita, Keir Dullea in 2001, lots of acting in Clockwork and The Shining, D'Onofrio in Full Metal Jacket. Lots of great performances, none I'd really consider "realistic" or "naturalistic."

[filmmusic]

I suppose this has been answered before, but I haven't understood why some Criterion releases have a DVD copy of the film, and in what criteria do they pick the ones that they'll have one?
Do i pay more for the extra DVD? Because i really don't need one.

[Dumbhuman]

Originally Posted by filmmusic

I suppose this has been answered before, but I haven't understood why some Criterion releases have a DVD copy of the film, and in what criteria do they pick the ones that they'll have one?
Do i pay more for the extra DVD? Because i really don't need one.

Moving forward, all Criterion releases will be dual-format to include the DVD. Any releases you see that include the DVD have been released since they made that decision. All the rest were released prior to that decision. You aren't paying a different price for the DVD.

[jayembee]

Originally Posted by octagon

JJL was the single best part of that movie. She did an outstanding job of channeling a Barbara Stanwyck/Katherine Hepburn/Myrna Loy romantic farce female lead without sinking into lame knock-off territory.

The film did a pretty good job overall of capturing that era of filmmaking and she was a huge part of that.

See, I don't agree with that. I thought JJL did come off as a lame wannabee Golden Age Bad Girl. She seemed to me to be trying to channel Rosalind Russell from His Girl Friday and failing miserably.

[jayembee]

Originally Posted by The Great Owl

I'm waiting until The Long Goodbye comes out on Blu-ray, although I may dive in before then. Of all the Altman films that I have not seen, this one looks miles above the rest.

When you do, keep an eye out for the cameos by David Carradine and Arnold Schwarzenegger. Carradine's is a hoot and a half.

To be honest, the film didn't seem that Chandleresque to me, but it's still quite a good neo-noir.

[The Great Owl]

Originally Posted by jayembee

To be honest, the film didn't seem that Chandleresque to me, but it's still quite a good neo-noir.

I found a hardcover of Raymond Chandler's The Big Sleep for two dollars at a used bookstore down the street a week ago. After I get around to reading it, I'll track down The Long Goodbye.

The same used bookstore had a paperback of a Mickey Spillane anthology that included Kiss Me Deadly, but the paperback was in such godawful bad shape that I passed up on buying it.

[jayembee]

Originally Posted by filmmusic

I suppose this has been answered before, but I haven't understood why some Criterion releases have a DVD copy of the film, and in what criteria do they pick the ones that they'll have one?
Do i pay more for the extra DVD? Because i really don't need one.

Starting with the November 2013 titles, Criterion is releasing just about every new title with both BD and DVD in the same package. Their reasoning for this decision can be found at: http://www.criterion.com/current/pos...hy-dual-format

As that article states, the dual-format releases are priced the same as they would have been if they'd not included the DVDs. Most titles still have an SRP of $39.95.

There will be occasional exceptions to this rule. Next month's release of Blue Is the Warmest Color, for example, will be BD-only with no extras and priced at $24.95, with a dual-format special edition coming out later in the year. And the Eclipse sets will continue to be DVD-only.

[bwdowiak]

I'm sure many of you know, but Jean Pierre Melville's Un Flic is available to stream on Netflix. I just finished it up and would certainly recommend it. Just oozing with style. For me, the only thing that keeps it from being a masterpiece is

[Show spoiler]the prolonged train heist scene in the middle of the film. It took away a bit of momentum that the film had established and quite frankly, it would seem to me that the entire sequence adds nothing to the story and could be entirely cut.

Would like to see the film come to Blu-ray. My stream quality was kinda bad. Either that or the print is in need of some TLC. Really liked it though.

[jw007]

Originally Posted by smoss469

That seems to be the going rate.

I'd LOVE to own it, but not at that price.

I snatched it for $125 on Ebay in pretty much mint condition with the replacement case, last spring.

[jw007]

I watched City Lights for the very first time over the weekend and loved it. I still love Gold Rush as my favorite Chaplin film but this is up there alongside Modern Times (which probably is his greatest movie of them all). It's just amazing how much creative control the man had. I can only think of one other director who was in complete control of every film of his and that was the great Stanley Kubrick.

[octagon]

Originally Posted by bwdowiak

Would like to see the film come to Blu-ray. My stream quality was kinda bad. Either that or the print is in need of some TLC. Really liked it though.

I DVRed that on TCM a few months ago and about a half hour in I stopped watching it in the hopes that it would get some attention in the near future.

It wasn't terrible but (as is often the case these days) the thought that it could look a lot better was very distracting.

[ShellOilJunior]

I'm surprised nobody has mentioned one of the Coen's trademarks: gruesome violence.

I'd give a few examples but that would spoil a couple of their films.

[Mansinthe]

Originally Posted by Thebunk

Just to show I am not a racist towards the Japanese (or the English), another example which I have mentioned in this thread is the film Eyes Without a Face. The acting, special effects, direction and story are all great. My pet peeve in this case is that damn carnival score. For me, it does not fit the film, and it really takes me out of the movie at times. Again though, when reading reviews of the picture.

the score was the thing i liked the most about that movie. and the girl in her mask. and the ending was really cool.. cant imagine how people must fellt about that movie "back" in the day it was made.

in terms of everythign else "the skin i live in" was much better.

i startet to watch the first act of "intolerance" today. im gonna watch the second act tomorrow. but i do already know that i like german silent cinema (metropolis and nosferatu) way more.

[jayembee]

Originally Posted by bwdowiak

I'm sure many of you know, but Jean Pierre Melville's Un Flic is available to stream on Netflix. I just finished it up and would certainly recommend it. Just oozing with style. For me, the only thing that keeps it from being a masterpiece is

[Show spoiler]the prolonged train heist scene in the middle of the film. It took away a bit of momentum that the film had established and quite frankly, it would seem to me that the entire sequence adds nothing to the story and could be entirely cut.

Would like to see the film come to Blu-ray. My stream quality was kinda bad. Either that or the print is in need of some TLC. Really liked it though.

For what it's worth, keep in mind that Netflix's copy is not in HD. That aside, it's not great quality, but I've seen worse (on Netflix).

[Rhylliam]

In regards to the packaging on the new and upcoming releases from Criterion: What with everything being dual format, and needing cases to fit 2-3 discs, will most cases now be digipaks like Tokyo Story and Investigation of a Citizen Above Suspicion? Criterion doesn't let us know beforehand do they? Just curious.

[The Great Owl]

Originally Posted by bwdowiak

I'm sure many of you know, but Jean Pierre Melville's Un Flic is available to stream on Netflix. I just finished it up and would certainly recommend it. Just oozing with style. For me, the only thing that keeps it from being a masterpiece is

[Show spoiler]the prolonged train heist scene in the middle of the film. It took away a bit of momentum that the film had established and quite frankly, it would seem to me that the entire sequence adds nothing to the story and could be entirely cut.

Would like to see the film come to Blu-ray. My stream quality was kinda bad. Either that or the print is in need of some TLC. Really liked it though.

I own Un Flic on DVD, as it was sold here under the alternate title, "Dirty Money." I love the movie, and the train scene is fun, despite the obvious use of models that remind of the Thunderbirds sci-fi films. Alain Delon, Catherine Deneuve, and Richard Crenna are all spot-on.

Un Flic pales in comparison to Melvile's best works, but I'm still awaiting a high definition upgrade with the utmost enthusiasm.

[The Great Owl]

Originally Posted by jw007

I watched City Lights for the very first time over the weekend and loved it. I still love Gold Rush as my favorite Chaplin film but this is up there alongside Modern Times (which probably is his greatest movie of them all). It's just amazing how much creative control the man had. I can only think of one other director who was in complete control of every film of his and that was the great Stanley Kubrick.

I'm on the fence between the original 1925 version of The Gold Rush and City Lights as my favorite Charlie Chaplin film. They're both hilarious and poignant in all of the right ways.

I'm looking forward to delving into The Buster Keaton Collection, since it arrived at my doorstep a month ago. It'll probably be a few weeks before I get started, though. I've got quite a backlog in my stack from purchases over the past two months. At any rate, I look forward to comparing Keaton's work with my Chaplin films.

[Thebunk]

Originally Posted by JJJ225

Really all post-Paths Kubrick I guess. Peter Sellers in Lolita, Keir Dullea in 2001, lots of acting in Clockwork and The Shining, D'Onofrio in Full Metal Jacket. Lots of great performances, none I'd really consider "realistic" or "naturalistic."

Could not disagree more and based on your examples, I think we are talking about two totally different things. None of those examples take me out of the film and to me, they are all realistic. None of them flailing round or dropping to the ground going nuts (well except Nicholson in the Shining but isn't that the point since he is actually going insane?)