The Criterion Collection

[jbieste]

Originally Posted by MifuneFan

I'd love to see King of Hearts. I remember seeing it when I was younger, and I was trying to remember what it was called. Thankfully a google of some keywords allowed me to find it a few months back

I'd also love to see Criterion release King of Hearts.

[jayembee]

Originally Posted by DaveyJoe

At 17, who wouldn't want to quit their job and flee to a remote landscape to make love all day long?

17-year-olds have jobs?

[Cabanon]

is there a big difference between the normal & Criterion release of Dazed And Confused ?

[diskspinner]

Originally Posted by soarinsteven

Oh my oh my I watched Satyajit Ray's THE BIG CITY today. What a magnificent film. Loved the deliberate pacing allowing the characters and story really breathe, and the viewer become completely involved with everything happening. I have to bow down to Madhabi Mukherjee. Incredible, deeply moving performance. A loving, strong mother, and wife who is never apologetic of her will and desire to leave the house to work, at first, out of necessity to help the family, and then because she likes her job, and is good at it. While her husband, young son, and poor in-laws who live with them all disapprove Ray makes no one easy villains. It's beautiful, thoughtful, storytelling. I'd liken it to the great feminist, modernist vs. traditionalism works of Ozu and Mizoguchi. Essential film of the collection.

Oh, and that ending is on some City Lights level greatness as the husband proudly says to his wife after quitting her job because her boss carelessly fires a fellow employee and friend. "Listen to me. You stood up to injustice. Was that wrong? I could never have done what you did. I wouldn't have had the courage. Earning our daily bread has made us cowards. But you weren't a coward. Isn't that a small achievement?" And. I. Cry.

Nice sum up!!! Planning to watch it this weekend again with my wife...I have watched it 3 times already but will be my first time in Criterion blu.

[RojD]

Originally Posted by StonesEGF

I've found my own reaction to the Altman movies I've seen, including Nashville, to be a bit lukewarm. The notable exception, however, is Short Cuts. Raymond Carver's short stories which provide the inspiration for the film are quite a bit different in tone, but masterful. I loved the film, and while I agree that many of the characters are rather unsympathetic for the majority of the runtime, I find quite a bit of humanity in them in the final analysis. It's undeniably Altman's handling of the cast and narrative that makes the whole thing work. It can't come to blu-ray fast enough, in my opinion. I suppose I need to take another look at Nashville, seeing as it's been a few years since I last saw it...

Pretty big Altman fan here, especially of the large ensemble movies like Nashville, Prêt-à-Porter, and Kansas City. I have an inexplicably deep response to his last movie, Prairie Home Companion, which seems to have so much truth in it.

There's the aesthetic pleasure I get out of his films, watching him thread the many lines of narrative together so they reflect, echo and affect each other; he looks back to Rules of the Game and forward to Boogie Nights and Magnolia. And the clear-eyed philosophy that seems to inform these resonates with me, too. I feel a kinship with Altman's way of seeing the world, like I do with John Huston's. I don't find his works cold, and I don't find (most of) his characters unsympathetic. Well, no more unsympathetic than I would anyone if I knew the mix of admirable and unadmirable in us all. I don't find celebration or joy in Altman, but there's an embracing, practical stoicism in him that I like.

And there's the visual beauty, too.

[jw007]

Originally Posted by bwdowiak

I'll have to give it a try. My library has the Blu-ray copy available. Usually, when things are hyped down is when I find it easiest to enjoy a film. I don't like country music either, but a heartfelt song is a heartfelt song, so I'll have to see if it works on me. Plus, the city of Nashville is one of the cleanest, most fun, tastiest food places I have ever been. Live music at nearly every bar - even during the day. You don't have to like country music to enjoy the vibe there. Great city!

Thanks for the opinion on Nashville. I hope to someday check out that town. It's about an 8 hour drive from here in P-burgh but it is definitely on my radar. I wonder if Nashville has more live music than Austin, TX though?

Let me know when you get a chance to see the movie though.

Originally Posted by EPlay

Altman isn't one of my favorites, either, but Short Cuts is my favorite of his. I haven't seen it since its theatrical run but the scene where

[Show spoiler]Andie McDowell explains why she didn't pick up the birthday cake

is incredibly sad and seared in my memory.

Have seen a handful of Altman's other films, including 3 Women and Nashville and barely remember a thing about them. (Although "I'm Easy" is a fantastic song.) I would probably appreciate them more now as my tastes are different now.

I need to revisit Short Cuts. I own the Criterion DVD but its literally been years..many years...since I've seen it. I'm probably more patient at seeing movies now anyway.

...And Keith Carradine did a fantastic job on "I'm Easy" (Oscar winning song) as well as the song that closes the film: It Don't Worry Me.

Originally Posted by nondiatonic

My feelings for Altman are no secret given my avatar.

I think Nashville is certainly a difficult movie. I also agree that it dragged at parts; however, it amazed at others. Overall it was a solid film, but I felt myself thinking about how much better Short Cuts is.

[Show spoiler]I'm also annoyed by the random cut during the final song. The camera pans up to the sky as people join in singing and then the film quickly cuts to a random audience member then back to the sky. I think removing that cut would make the ending more powerful.

I don't agree that the characters in Short Cuts are unlikable. Or maybe our unlikables are not synonymous. While I certainly do not relate with all the characters or agree with their decisions, I find their lives fascinating. I don't feel I have to relate to a character to be interested in their existence.

Altman has multiple masterpieces: McCabe and Mrs. Miller (the scene on the bridge...),The Long Goodbye, The Player, Short Cuts. And, most of the rest of his filmography consists of phenomenal films.

His output is criminally underrepresented on BD.

Agreed on that last note. I'm going to check out Short Cuts again soon I think now. Everyone is convincing me/inspiring me to do this.

Originally Posted by StonesEGF

I've found my own reaction to the Altman movies I've seen, including Nashville, to be a bit lukewarm. The notable exception, however, is Short Cuts. Raymond Carver's short stories which provide the inspiration for the film are quite a bit different in tone, but masterful. I loved the film, and while I agree that many of the characters are rather unsympathetic for the majority of the runtime, I find quite a bit of humanity in them in the final analysis. It's undeniably Altman's handling of the cast and narrative that makes the whole thing work. It can't come to blu-ray fast enough, in my opinion. I suppose I need to take another look at Nashville, seeing as it's been a few years since I last saw it...

One thing Robert Altman was a genius at was handling large ensemble casts. When I think of an "ensemble director" the only director I can think of is Altman. What other directors handled large ensemble casts well?

Originally Posted by Rich Pure Doom

Watch 3 Women a second time. It's a perfect masterpiece, and Altman's very best.

I actually enjoyed watching 3 Women a lot more than Nashville.

[brandon_260]

Originally Posted by jayembee

17-year-olds have jobs?

What? Yes. I believe I was 15, maybe 16, when I started my first, and I had classmates who had been working at least a year before me.

[atlantajoseph]

Originally Posted by DaveyJoe

Quick question: I'm interested in Antonioni's trilogy L'Avventura, La Notte, and L'Eclise, but I can only find the latter two available in HD. Is it okay to watch them out of order?

Yes, it is. They are not a trilogy in the traditional sense of the word... they just share general themes in common, not characters or continuing plots.

[octagon]

Originally Posted by jw007

What other directors handled large ensemble casts well?

As much as I tend to dislike his movies, in the 'credit where credit is due' category I'd have to say that Wes Anderson does a very good job balancing large numbers of big names.

He really does seem to have a knack for keeping everybody on the same page.

[StonesEGF]

Originally Posted by jw007

One thing Robert Altman was a genius at was handling large ensemble casts. When I think of an "ensemble director" the only director I can think of is Altman. What other directors handled large ensemble casts well.

To be honest, I can't think of any directors who have handled such large casts with such seemingly disparate storylines as dexteriously as Altman... Aside from PTA with Boogie Nights and Magnolia, of course. This thread is making me want to take another serious look at some of Altman's movies, especially 3 Women, which I've never seen.

On a much much smaller scale, Glengarry Glen Ross is probably my favorite movie with an "ensemble" cast. I'd be curious to see how the original play handled the different groups without the benefits of film editing.

[malakaheso]

PTA is always the one that people use as a comparison. PTA's multi-narrative ensemble films are generally far more morally and emotionally simplistic than what Altman's films were in that style, especially in the 'old days'. I suspect that's largely why they are preferred by the younger generations--including my own--because they are more accessible. That's not a knock on PTA necessarily, but there are many young film buffs out there that actually think PTA improved on Altman's style, which is completely absurd. He didn't 'improve' on it at all. He dumbed it down.

Magnolia is a well made film but unlike, say, Nashville, it tells you what to think and feel at almost any given moment.

Originally Posted by hustlermane

Don't sleep on RED DESERT either, that thematic trilogy can definitely be extended to a quadrilogy - that its an excursion into colour is the only real difference. It also has Monica Vitta, and she's as incredible in it as the others.

There is more than just colour separating Red Desert from the trilogy, at least on closer inspection, although i agree with you that Red Desert is a fine film. For one thing, the 'source' of the 'alienation' is far more 'grounded' and 'localized' than it was in the previous three films. There is no question in Red Desert what the 'cause' of the 'problem' is. In the other films it's far more ambiguous. Even in La Notte we are witnessing the meltdown a marriage, but the 'meltdown' is not the cause, it's a symptom of a wider social malaise that is hard to pin down.

[StonesEGF]

Originally Posted by malakaheso

PTA is always the one that people use as a comparison. PTA's multi-narrative ensemble films are generally far more morally and emotionally simplistic than what Altman's films were in that style, especially in the 'old days'. I suspect that's largely why they are preferred by the younger generations--including my own--because they are more accessible. That's not a knock on PTA necessarily, but there are many young film buffs out there that actually think PTA improved on Altman's style, which is completely absurd. He didn't 'improve' on it at all. He dumbed it down.

Magnolia is a well made film but unlike, say, Nashville, it tells you what to think and feel at almost any given moment.



There is more than just colour separating Red Desert from the trilogy, at least on closer inspection, although i agree with you that Red Desert is a fine film. For one thing, the 'source' of the 'alienation' is far more 'grounded' and 'localized' than it was in the previous three films. There is no question in Red Desert what the 'cause' of the 'problem' is. In the other films it's far more ambiguous. Even in La Notte we are witnessing the meltdown a marriage, but the 'meltdown' is not the cause, it's a symptom of a wider social malaise that is hard to pin down.

What's your opinion on PTA's most recent film, The Master? I've read many opinions similar to yours regarding his moralizing and his need to tidy things up by a film's conclusion.

I like your take on Antonioni. I discovered his movies at about the same time I discovered existentialist writers such as Camus and Sartre.

[malakaheso]

Originally Posted by StonesEGF

What's your opinion on PTA's most recent film, The Master? I've read many opinions similar to yours regarding his moralizing and his need to tidy things up by a film's conclusion.

Except The Master isn't really 'tidy' like his other films, at least not from memory anyway. It's difficult to have a discussion about that film because there doesn't seem to be many clear ideas about what it's actually about.

I will say that i enjoyed the power struggle between the central characters and thought it was more interesting to watch than 'There will Be Blood.

It's good to see him move in a less predictable direction though. The Master was a ballsy film.

Originally Posted by StonesEGF

I like your take on Antonioni. I discovered his movies at about the same time I discovered existentialist writers such as Camus and Sartre.

Thanks, and that's certainly a great 'coincidence' on your part discovering all of those things at roughly the same time

[DaveyJoe]

Originally Posted by JoeBuck

Yep!

Thanks, that is good to know!

Originally Posted by brandon_260

Yes, but please don't write off L'avventura for not being in HD yet. It is the best of the three.

Oh, I'm not planning on writing anything off, I'm just looking for a starting point that I can enjoy with the best picture quality. I can rent the latter two on Amazon in HD, and if I enjoy them, purchase the BDs in November. I'm sure it's just a matter of time before Criterion upgrades L'avventura.

Originally Posted by StonesEGF

Definitely. La Notte is actually my favorite, and I consider it to be the most accessible entry point. This is probably entirely subjective, however... Just how I came to fall in love with Antonioni's themes and style.

Blow Up is the only Antonioni film I've seen, and I really enjoyed it. I've been intrigued by these films for sometime, they seem more abstract, not that that's a bad thing, but sometimes you just have to be in the mood for a movie like that. I've been waiting for an evening where I can just let myself become absorbed in one of these films.

Originally Posted by hustlermane

Don't sleep on RED DESERT either, that thematic trilogy can definitely be extended to a quadrilogy - that its an excursion into colour is the only real difference. It also has Monica Vitta, and she's as incredible in it as the others.

You know, I almost made this a blind buy last November, but I chickened out at the last moment. I was thinking of watching the aforementioned trilogy back to back to compare and contrast, but I will definitely keep Red Desert on my radar for imminent viewing.

Originally Posted by atlantajoseph

Yes, it is. They are not a trilogy in the traditional sense of the word... they just share general themes in common, not characters or continuing plots.

That's a relief, I suspected this might be the case, but I wanted to make sure before diving into them and missing some important elements established in L'avventura. Now to decide if I want to watch La Notte or L'Eclisse...

Originally Posted by jayembee

17-year-olds have jobs?

Sure! Typically in retail or the service industry, but many people get their first job as early as 14. I got my first job at 16 as a cashier at a grocery store. In typical Summer With Monika fashion, there were times where I would call out sick so I could spend the afternoon with my girlfriend at the time, if my dad had a boat to steal, I might have never returned.

[StonesEGF]

Originally Posted by malakaheso

Except The Master isn't really 'tidy' like his other films, at least not from memory anyway. It's difficult to have a discussion about that film because there doesn't seem to be many clear ideas about what it's actually about.

I completely agree about the thematic ambiguity of The Master. I suppose I was being a bit leading in my question.

[Fellini912]

Originally Posted by EricJ

My fault for getting to the thread late.

For those who don't know what to make of the movie on first watch, Roger Ebert did a good criticism of Fellini's approach to it as "Proof of why the '68 Summer of Love wouldn't have lasted forever"--
Rome's self-indulgence would have eventually collapsed in on itself (as we see it surrealistically starting to do), and the final shot symbolizes how the mod 50's/60's Rome of Fellini's early years mythologizes but can't quite grasp their more famous ancestors were for real.

Roger Ebert was a great film critic. Such a naive moralistic take on Rome's fall would make me believe he was not a good historian.

It is almost common knowledge today that Rome's collapse was multifactorial. The two most influential factors for Rome's collapse were its persistent military expansion and its poor economy. These same factors probably caused the Great British Empire to shrink.

Anyway, it is great to see Fellini's Satyricon getting a blu-ray treatment by criterion.

[malakaheso]

Originally Posted by StonesEGF

I completely agree about the thematic ambiguity of The Master. I suppose I was being a bit leading in my question.

No, your question was fine, but i guess my answer to those who would accuse even that film of being 'moralizing' would be this: how is it possible to go about not ever moralizing unless you only made films where 'wrong doers' are shown doing horrible things indifferently in every film while getting away with it each and every time?

[ultlife2013]

Originally Posted by StonesEGF

What's your opinion on PTA's most recent film, The Master? I've read many opinions similar to yours regarding his moralizing and his need to tidy things up by a film's conclusion.



I like your take on Antonioni. I discovered his movies at about the same time I discovered existentialist writers such as Camus and Sartre.

Magnolia wasn't tidied all up by the end.

[pro-bassoonist]

Originally Posted by EricJ

My fault for getting to the thread late.

For those who don't know what to make of the movie on first watch, Roger Ebert did a good criticism of Fellini's approach to it as "Proof of why the '68 Summer of Love wouldn't have lasted forever"--
Rome's self-indulgence would have eventually collapsed in on itself (as we see it surrealistically starting to do), and the final shot symbolizes how the mod 50's/60's Rome of Fellini's early years mythologizes but can't quite grasp their more famous ancestors were for real.

The only problem there is that Rome's "self-indulgence" not only did not collapse, but actually blossomed in the years after Fellini. In fact, it became a national obsession during the Berlusconi era.

Now it is pretty much contained to the Eternal City again, which is why southerners -- such as Paolo Sorrentino -- love to deliver political messages with their films.

It is an old game with new faces.

Pro-B

[jayembee]

Originally Posted by jayembee

17-year-olds have jobs?

Originally Posted by brandon_260

What? Yes. I believe I was 15, maybe 16, when I started my first, and I had classmates who had been working at least a year before me.

[FoghornLeghorn]It was...I say it was a joke, son. Humor, that is.[/FoghornLeghorn]