The Criterion Collection

[jayembee]

Originally Posted by pedromvu

Just finished watching Ali: Fear eats the Soul, wow, i thought it was so much better than All that Heaven Allows.

Which version do you all who have seen both prefer?

I felt underwhelmed by Sirk version to be honest, but i still enjoyed it, it just felt too much like a conventional melodrama, while Ali just conveyed the problems on a more natural and realistic way that i also think make it more universal.

I love the Sirk film, though it's not my favorite of his melodramas. I prefer Magnificent Obsession, and maybe Imitation of Life. But I think Ali: Fear eats the Soul impressed me more as a film.

[jayembee]

Originally Posted by RandyK

I'm thinking about taking a class on French cinema next semester. It's called Classics of French Cinema and was wondering if anyone might take a guess as to some of the films I would be watching. I'm positive Breathless will be in there.

I would imagine, at the very least, there would have to be a Truffaut (most likely The 400 Blows), a Renoir (either La Grande Illusion or The Rules of the Game) maybe Cocteau's Beauty and the Beast, Ophüls' Lola Montès, Carné's Children of Paradise, a Tati (M. Hulot's Holiday), possibly a Bresson and/or Melville, a Rohmer, a Demy.

(Yes, it's rather handy that all of the directors listed, and all but one of the films I mention specifically, are part of the Criterion Collection.)

[adamhopelies]

Originally Posted by RandyK

I'm thinking about taking a class on French cinema next semester. It's called Classics of French Cinema and was wondering if anyone might take a guess as to some of the films I would be watching. I'm positive Breathless will be in there. Here's the course description:

I teach one of these classes here in the UK. Here are a couple of films that are in the Criterion Collection that I've screened over recent years.

Pickpocket
The Rules Of The Game
Les Diaboliques
The Complete Vigo
The 400 Blows
Breathless
Les enfants terribles
Orpheus
My Night At Mauds
Mon Oncle
La Pointe Courte
And God Created Woman
Children Of Paradise
Chronicle Of A Summer
Sans Soleil

These are just the basics, and each one acts as a jumping off point for further viewing too in most cases.

Enjoy the class!

[adamhopelies]

Speaking of French cinema, today I was lucky enough to see Jean-Luc Godard's Adieu au langage. I'm a big fan of Godard, and am very much familiar with the entire (and broad) spectrum of his work, but what surprised me most was just how fresh this film felt, even when placed at the end of the line of work that led to it. The Gadard-isms are clear and present, but it felt completely reenergised at the same time - remarkable really, given his age.

The film also showed me something I've never seen in a film before, with this one specific technique he's come up with in exploiting 3D leading me to damn near cheer in the cinema.

[Show spoiler]Basically the two lenses utilised for photographing 3D images separate, without the camera cutting, meaning that two separate films play at the same time, one in the right eye, the other the left

. It's mesmerising.

I'm seeing the film again tomorrow, but this time in IMAX! Godard in 3D IMAX!

[Polaroid]

Originally Posted by adamhopelies

speaking of french cinema, today i was lucky enough to see jean-luc godard's adieu au langage. I'm a big fan of godard, and am very much familiar with the entire (and broad) spectrum of his work, but what surprised me most was just how fresh this film felt, even when placed at the end of the line of work that led to it. The gadard-isms are clear and present, but it felt completely reenergised at the same time - remarkable really, given his age.

The film also showed me something i've never seen in a film before, with this one specific technique he's come up with in exploiting 3d leading me to damn near cheer in the cinema.

[Show spoiler]basically the two lenses utilised for photographing 3d images separate, without the camera cutting, meaning that two separate films play at the same time, one in the right eye, the other the left

. It's mesmerising.

I'm seeing the film again tomorrow, but this time in imax! Godard in 3d imax!

3d :/

[RandyK]

Originally Posted by jayembee

I would imagine, at the very least, there would have to be a Truffaut (most likely The 400 Blows), a Renoir (either La Grande Illusion or The Rules of the Game) maybe Cocteau's Beauty and the Beast, Ophüls' Lola Montès, Carné's Children of Paradise, a Tati (M/ Hulot's Holiday), possibly a Bresson and/or Melville, a Rohmer, a Demy.

(Yes, it's rather handy that all of the directors listed, and all but one of the films I mention specifically, are part of the Criterion Collection.)

Originally Posted by adamhopelies

I teach one of these classes here in the UK. Here are a couple of films that are in the Criterion Collection that I've screened over recent years.

Pickpocket
The Rules Of The Game
Les Diaboliques
The Complete Vigo
The 400 Blows
Breathless
Les enfants terribles
Orpheus
My Night At Mauds
Mon Oncle
La Pointe Courte
And God Created Woman
Children Of Paradise
Chronicle Of A Summer
Sans Soleil

These are just the basics, and each one acts as a jumping off point for further viewing too in most cases.

Enjoy the class!

Quite a few of those are ones I've been meaning to check out. Think I will end up taking it. Thanks guys.

[Clare2904]

Originally Posted by adamhopelies

Speaking of French cinema, today I was lucky enough to see Jean-Luc Godard's Adieu au langage. I'm a big fan of Godard, and am very much familiar with the entire (and broad) spectrum of his work, but what surprised me most was just how fresh this film felt, even when placed at the end of the line of work that led to it. The Gadard-isms are clear and present, but it felt completely reenergised at the same time - remarkable really, given his age.

The film also showed me something I've never seen in a film before, with this one specific technique he's come up with in exploiting 3D leading me to damn near cheer in the cinema.

[Show spoiler]Basically the two lenses utilised for photographing 3D images separate, without the camera cutting, meaning that two separate films play at the same time, one in the right eye, the other the left

. It's mesmerising.

I'm seeing the film again tomorrow, but this time in IMAX! Godard in 3D IMAX!

If you are a big Godard fan could you do me a favour and look over this post for me and give your opinion?

http://www.themetropolist.com/film/b...an-luc-godard/

[filmmusic]

Originally Posted by jw007

I watched Howards End the other night and had no issues with the blu-ray even though it was a Sonopress pressed disc. The movie was lovely and it was my first introduction to James Ivory. I hope to seek out Remains of the Day next as it seems like a sequel to this film. Overall, I'm not a huge fan of these types of movies and even can say some of Ivory's latter day films are boring (just by reading the description of them). Yet, the acting was exquisite in Howards End and the cinematography was beautiful at times, so this was a surprisingly engaging film for me.

I haven't seen the later Ivory films, but I love (in this order):
Maurice
Remains of the Day
Howards End
A Room with a View

i would hope for the other 3 to get the Criterion treatment, but now it's impossible!

[Brad1963]

Originally Posted by filmmusic

I haven't seen the later Ivory films, but I love (in this order):
Maurice
Remains of the Day
Howards End
A Room with a View

i would hope for the other 3 to get the Criterion treatment, but now it's impossible!

Remains of the Day could still get the Criterion treatment. It is owned by Sony Pictures and not Merchant Ivory. James Ivory came aboard after Mike Nichols changed his mind about directing it. You could purchase the Sony Blu ray in the UK, region free. I've been holding off getting it in hopes of a Criterion release.

[The Great Owl]

Originally Posted by bruceames.

Harold Lloyd is by far my favorite silent comedian. I'm so glad Criterion is releasing his movies on Blu-ray. I've tried watching Keaton but haven't been able to connect with that stoic face. I'd love to get that box set and probably will if it drops again to under $150, but I'll probably enjoy it more for other reasons than his humor.

Originally Posted by Blu-Velvet

I never used to like COLLEGE much, but appreciated it much more when seeing the new Blu-ray edition (partly due to passage of time and partly due to the substantially higher image quality). I still prefer Lloyd's THE FRESHMAN, however (keeping this on a Criterion topic somewhat).

STEAMBOAT BILL, JR is one of my favorite Keaton features, along with THE GENERAL and SHERLOCK, JR. The new Blu-ray edition is excellent, with three different music scores (two on one cut of the film and one on the other), but my favorite score is still the classic Gaylord Carter pipe organ score that is on the old 1999 Kino DVD edition (and my old 16mm film print), and there's another DVD with an odd but sometimes interesting Alloy Orchestra score. I was lucky enough to see STEAMBOAT BILL, JR shown in an old movie palace a few decades ago with a live Wurlitzer organ score and a packed house that responded wonderfully to the action and gags.

The Blu-ray also has a fascinating comparison between the two different cuts of the film, which seem virtually identical (other than the music scores) if you think back on them, but have minor subtleties in performances because different takes were used. It's like seeing a stage play on two different nights.

Originally Posted by Fellini912

Those films are my favorite Keaton films. The blu-rays for The General and Steamboat Bill Jr. are great (the two I own).

Originally Posted by jayembee

I thought it was just me. I admire the hell out of Keaton as a filmmaker -- the camerawork, the stuntwork, and so on. But I don't find his films nearly as enjoyable as Lloyd's or Chaplin's.

After going through the first three sets of The Buster Keaton Collection, I've decided that I prefer his film to those (that I've seen) of Charlie Chaplin or Harold Lloyd, but only by a slight margin. I get a kick out of all three of them for different reasons.

Buster Keaton's early short films are mesmerizing, because they're like the Merry Melodies/Looney Tunes cartoons, except live action.

The full-length films are more nuanced, to great effect.

I finished a trail marathon today in rainy weather that made the rocks and trails slippery, so I'm going to sit down to watch Steamboat Bill, Jr. tonight with a big plate of ribs and with my dead legs elevated up on the coffee table. I might even start watching some of the Lost Keaton shorts (I'm hoping to finish those tomorrow or Tuesday.).

So far, without having seen Steamboat Bill, Jr. yet, my favorite full-length Keaton films are...

Sherlock Jr.
Seven Chances
The General

[Edward J Grug III]

Originally Posted by Polaroid

I need to revisit Hitchcock I think >.<

Whats the film he did with the long take at start?

Rope is 'all one take' (It's not really, but there are some hidden cuts) and it's essentially a play all set in one appartment. Is that the film you mean?

Otherwise, I think you might be confusing another director? Possibly Orson Welles' A Touch of Evil?

Hitch loved his unbroken shots, but I can't think of a film that opens with one (I could be forgetting one though?)

I am curious though, if you haven't heard of Rear Window, which Hitchcock's have you seen? Maybe you just haven't seen his best work?

I second the person a couple pages ago who suggested A Shadow of a Doubt and Strangers on a Train being two of his best.

Hitch is probably my favourite director too, and there's so many classics in his filmography that I hope you can 'crack him open.'

[blkhrt]

Originally Posted by The Great Owl

I finished a trail marathon today in rainy weather that made the rocks and trails slippery, so I'm going to sit down to watch Steamboat Bill, Jr. tonight with a big plate of ribs and with my dead legs elevated up on the coffee table. I might even start watching some of the Lost Keaton shorts (I'm hoping to finish those tomorrow or Tuesday.).

So far, without having seen Steamboat Bill, Jr. yet, my favorite full-length Keaton films are...

Sherlock Jr.
Seven Chances
The General

Steamboat Bill, Jr. is my favorite Keaton. Congratulations on the marathon. Enjoy the movie!

[kuro_sawa]

Originally Posted by Polaroid

Ah ok - I wanted to see Ali but not had chance yet, All the heaven didn't appeal to me at all though >.<

Ali: Fear Eats The Soul is the better of the two films....even though it is an adaption of the film we're comparing it to...

to me, above all, it is a more engaging experience

[TJS_Blu]

Originally Posted by TJS_Blu

For what its worth, October 14th.

Wexner, that is.

With its unparalleled library of world classics and critically acclaimed contemporary films, exquisitely designed packaging, and demanding technical standards, the Criterion Collection remains the Tiffany's of important releases on home video.

Join Criterion Collection Producers Kim Hendrickson and Curtis Tsui as they provide a behind-the-scenes look at Criterion's operation, focusing on recent and upcoming releases such as Federico Fellini’s La Dolce Vita (1960), Alfonso Cuarón’s Y tu mamá también (2001), Sydney Pollack’s Tootsie (1982), and John Ford’s My Darling Clementine (1946), among others.

Following the talk, stick around for a new 4K restoration of the timeless classic My Darling Clementine, John Ford’s take on the OK Corral legend starring Henry Fonda as Wyatt Earp and Victor Mature as Doc Holliday. (97 mins., DCP)

That's Tuesday, folks.

[The Great Owl]

Originally Posted by The Great Owl

So far, without having seen Steamboat Bill, Jr. yet, my favorite full-length Keaton films are...

Sherlock Jr.
Seven Chances
The General

Yes, I'm going to add Steamboat Bill, Jr. to this list of Keaton favorites. Amazing movie!

[Edward J Grug III]

I can't believe there's just a few days till the next set of announcements!

I am hoping for a new Powell and Pressburger upgrade more than anything, though I am not confident they have anything planned at the moment.

Would settle for a Preston Sturges...

[filmmusic]

Originally Posted by Brad1963

Remains of the Day could still get the Criterion treatment. It is owned by Sony Pictures and not Merchant Ivory. James Ivory came aboard after Mike Nichols changed his mind about directing it.

are you sure?
It says here:

In a complaint filed in New York federal court on Friday, Merchant Ivory claims that Janus can no longer distribute such films as The Bostonians, A Room with a View and Remains of the Day.

http://www.hollywoodreporter.com/thr...censing-364396

Originally Posted by Brad1963

You could purchase the Sony Blu ray in the UK, region free. I've been holding off getting it in hopes of a Criterion release.

yes, me too..

[adamhopelies]

Originally Posted by Polaroid

3d :/

I'm not a fan ordinarily, but it works really well here.

[Edward J Grug III]

Originally Posted by adamhopelies

The film also showed me something I've never seen in a film before, with this one specific technique he's come up with in exploiting 3D leading me to damn near cheer in the cinema.

[Show spoiler]Basically the two lenses utilised for photographing 3D images separate, without the camera cutting, meaning that two separate films play at the same time, one in the right eye, the other the left

. It's mesmerising.

Nertz! I'm almost blind in one eye, so that wouldn't work for me at all.

[amoergosum]

Originally Posted by Edward J Grug III

I can't believe there's just a few days till the next set of announcements!

I am hoping for a new Powell and Pressburger upgrade more than anything, though I am not confident they have anything planned at the moment.

Would settle for a Preston Sturges...

I'm hoping for a Ratcatcher upgrade...that would be fantastic.