The Criterion Collection

[SammyJankis]

Originally Posted by ShellOilJunior

One of the things I love about Boyhood is how there are no huge payoffs. Everything unfolds in linear fashion, almost like a novel. In many coming-of-age films there's a certain tendency to pander to the audience. A lesser writer/director would've hit the audience with something really emotional and manipulative.

[Show spoiler]Linklater didn't linger too much with the drunk dude (Mr. King Liquor) which was fine by me because he wasn't Mason's father and frankly the kid had no attachment to him. Same with Jim.

Agreed. The film has a consistent string of low key moments that amount to this overwhelming feeling by the final frame. It subverts expectations.

[Show spoiler]It doesn't play out in the ways you'd expect. We don't see the first kiss or any of the tropes found within the genre. Whenever there's going to be dramatic tension, the film kind of just takes another turn by sticking with its slice-of-life attitude. During the initial viewing, around the halfway mark when the kids are drinking and breaking wood, the audience kind of let out this audible gasp, thinking one of the kids was going to get knocked against one of the blades behind him. I was accustomed to the film's rhythm by then and knew it was going to happen. I was relieved it didn't happen.

Regarding Polaroid's spoiler

[Show spoiler]There's enough shown within the mother's arc and most of it is developed from little pieces. Of course, we don't see the big picture because the POV for the entire film is from the boy. We don't see the other half of the relationship of the mother. We don't know how her romantic interest's behave when he's not around. If the film had violated this perspective - if we had been jarringly switched to a different POV - then it would have violated the entire's film concerns and made it less special. It's what he doesn't see and how he reacts to that.

And frankly, the parents' arc is one of the most fascinating of the film, especially the father's.

[The Great Owl]

Originally Posted by jw007

I watched Il Sorpasso last night and I was literally and figuratively blown away!

Wow!

I'm glad that you enjoyed Il Sorpasso. It looks as though our reactions to our first viewings of this movie were a lot alike. It was such a great blind buy.

[jw007]

Originally Posted by The Great Owl

I'm glad that you enjoyed Il Sorpasso. It looks as though our reactions to our first viewings of this movie were a lot alike. It was such a great blind buy.

Indeed! I just couldn't believe how "alive" this movie was. Every shot was breathing with energy and conviction. I knew that from the very first shot of the film with the camera in the backseat of the car, I was going to like this movie but didn't expect to "love" it. Really, the only criticism I have is the audio dubbing as the actors' lips often wasn't in synch with the words/dialogue.

I'm actually wondering why live sound wasn't used more often at this time? Was it an inconvenience or a budget-issue that prevented directors from capturing the sound of actors in the original scenes?

Such a great blind buy.

[alien2010]

Originally Posted by jw007

Indeed! I just couldn't believe how "alive" this movie was. Every shot was breathing with energy and conviction. I knew that from the very first shot of the film with the camera in the backseat of the car, I was going to like this movie but didn't expect to "love" it. Really, the only criticism I have is the audio dubbing as the actors' lips often wasn't in synch with the words/dialogue.

I'm actually wondering why live sound wasn't used more often at this time? Was it an inconvenience or a budget-issue that prevented directors from capturing the sound of actors in the original scenes?

Such a great blind buy.

I bought Il Sorpasso for my dad, who saw it back when it was first released. For years he bragged on and on about this film, and I can see why. One of the best films I've seen in a long long time. I agree with you about this film being alive because it was. The vibrancy and energy this film has is just phenomenal. The performances, the story, the cinematography, the cheesy 'twist' soundtrack and the nods to other films of the period, particularly when Gassman's character mocks L'Eclisse and then pays his respect to Antonioni is just fantastic.

Live sound wasn't used in Italian cinema during this time. If you look at the Christopher Frayling documentary on Fistful of Dollars he mentions that it was just the norm, and also because due to the import of actors from abroad who didn't speak the language.

[Spire]

Originally Posted by anthonyls

Little project I've been working on... I like the standard Criterion BD case better than the digipacks...

[Show spoiler]

Did all the booklets fit without modification?

[aes3728]

Originally Posted by jw007

I watched Il Sorpasso last night and I was literally and figuratively blown away!

Wow!

Finally an old Italian film I could fully relate to on all levels.

After my films come out of storage the first two I'm popping in are Naked and Il Sorpasso and I have you to thank for both. Programming a double feature for a stranger... theres a novel idea

[aes3728]

The people over at DVDBeaver must've gotten some real early screeners. Caps for all of August's releases are up over there if interested.

[joie]

Originally Posted by ShellOilJunior

Boyhood will make for an excellent Criterion spine. Very impressed by Linklater's latest.

Is it too soon to call Linklater one of the very best American directors working today?

Only dead directors can be called the very best, because it's only after they're dead that their entire body of work can be assessed.

[anthonyls]

Originally Posted by Spire

Did all the booklets fit without modification?

Nope, I had to cut them slightly.

[Scottie]

Originally Posted by joie

Only dead directors can be called the very best, because it's only after they're dead that their entire body of work can be assessed.

What?

[Thebunk]

Originally Posted by joie

Only dead directors can be called the very best, because it's only after they're dead that their entire body of work can be assessed.

1) ShellOilJr said "Working Today"
2) BULLSHIT

[nondiatonic]

Originally Posted by joie

Only dead directors can be called the very best, because it's only after they're dead that their entire body of work can be assessed.

I don't agree with this. If a filmmaker only produces utter schlock in the latter half of his career does that diminish his previous works?

[octagon]

Originally Posted by iScottie

What?

Originally Posted by Thebunk

1) ShellOilJr said "Working Today"
2) BULLSHIT

Originally Posted by nondiatonic

I don't agree with this. If a filmmaker only produces utter schlock in the latter half of his career does that diminish his previous works?

Suckers

[Mansinthe]

Originally Posted by anthonyls

Little project I've been working on... I like the standard Criterion BD case better than the digipacks...

[Show spoiler]

i did similar stuff to non-criterion releases. but i couldnt do that to criterions so far xD but it does look amazing. wish criterion would offer replacement covers. i would even be fine with cutting the booklets....

Some of the Digipacks look nice but they are just a big waste of resources and space.

[The Great Owl]

Originally Posted by nondiatonic

If a filmmaker only produces utter schlock in the latter half of his career does that diminish his previous works?

There's no doubt in my mind that we have yet to see the best works from George Lucas.

*snort*

[nondiatonic]

Originally Posted by The Great Owl

There's no doubt in my mind that we have yet to see the best works from George Lucas.

*snort*

I guess what I'm trying to say is that I attempt to judge a director's films irrespective of his other works.

This begs the question: can you be considered a great director based on a single film? I believe so.

To be in contention as one of the all time greats based on a single film? It would certainly have to be a spectacular film.

I'm realizing that I've eroded my own argument.... Nothing to see here folks...

[WalterNeff]

I'm deciding between ordering The Third Man or Touch of Evil, and want to know which I should get. Which is the better noir?

[Scottie]

Originally Posted by WalterNeff

I'm deciding between ordering The Third Man or Touch of Evil, and want to know which I should get. Which is the better noir?

I prefer Touch of Evil, but that's just me.

[jayembee]

Originally Posted by WalterNeff

I'm deciding between ordering The Third Man or Touch of Evil, and want to know which I should get. Which is the better noir?

The Third Man is the better film.

Touch of Evil is the better noir.

That clear it up for you?

[jw007]

Originally Posted by alien2010

I bought Il Sorpasso for my dad, who saw it back when it was first released. For years he bragged on and on about this film, and I can see why. One of the best films I've seen in a long long time. I agree with you about this film being alive because it was. The vibrancy and energy this film has is just phenomenal. The performances, the story, the cinematography, the cheesy 'twist' soundtrack and the nods to other films of the period, particularly when Gassman's character mocks L'Eclisse and then pays his respect to Antonioni is just fantastic.

Live sound wasn't used in Italian cinema during this time. If you look at the Christopher Frayling documentary on Fistful of Dollars he mentions that it was just the norm, and also because due to the import of actors from abroad who didn't speak the language.

I'm starting to think that Il Sorpasso is somehow ahead of its time, esp. in how it was edited and filmed. It's a work of genius and I cannot believe I never knew about this movie before. I can easily see this being re-watchable in my life. I forgot to mention how stunning the transfer is too.

Pretty interesting how live sound wasn't used until later on. I found a couple of interesting things while searching online on this:

http://www.roderickconwaymorris.com/Articles/338.html
and
http://www.criterionforum.org/forum/...pic.php?t=2638