The Criterion Collection

[Jr7936]

Then they just should have cancelled mine in 1st place since they had four days. An amazon ca rep even told me it would ship out on Monday so who knows. I'll guess ill just wait and see

Originally Posted by Petra_Kalbrain

I wouldn't count on that. Just noticed that my 2 shipped items are now tracking as "Item is in transit to pickup location." Looks like they managed to call back everything that gets sent out.

I'll be contacting them tomorrow about that. They issue an e-mail stating it has shipped and don't e-mail me to say tha it has been recalled?!?! If I hadn't been tracking progress religiously, as most people don't beyond the initial shipment notification, I'd be expecting the item has been paid for and will be arriving at my door.

[Petra_Kalbrain]

Originally Posted by Jr7936

Then they just should have cancelled mine in 1st place since they had four days. An amazon ca rep even told me it would ship out on Monday so who knows. I'll guess ill just wait and see

Let me know. I'll use it as fodder for my case. Watch your tracking closely!

[bright75]

All my orders were cancelled by Amazon.ca. However I voiced my displeasure via a live chat and got $10 credit. Am using that towards my Fisher King purchase. So I guess that's something.

[SlickDamian]

Watched The Shooting/Ride In the Whirlwind over the weekend. Both are fantastic films. My first experiences with the "acid western", although I am a big western fan. I really like the sparsity of these films. Honestly, I prefer both of these unheralded films to the still- excellent My Darling Clementine. Only Criterion would give two films these this kind of treatment.

[SlickDamian]

Just read the review of The Killers. Very excited for this one. I haven't seen either film, but I really like the way that the Siegel film has so much colour. Noir in bright colour is very unique and interesting, such as Chinatown and Against All Odds.

[malakaheso]

Originally Posted by Yami

A Gentle Woman has recently been restored by Paramount (and is available as DCP if any intrepid cinema-owners are reading). Reading through the CNC website, they've also funded restorations of Pickpocket (already out via Criterion), Mouchette (already out via AE), Au hasard Balthazar (err...) and L'argent.

I read the same thing you have re: his wife wanting them under one label, but I'm not sure how that's going to work when I'm pretty sure she only owns the rights to Four Nights of a Dreamer.

By Paramount? Are you sure? Why would they bother restoring a Bresson film?

Anyway, a friend of mine saw the new print of A Gentle Woman last year in Paris. He said it looked really good. It's not my favourite Bresson film by a long shot--it's not even his best colour film--but it's decent.

I'd love to see a quality print of Four Nights of a Dreamer.

[CriterionBlues]

Originally Posted by SlickDamian

Watched The Shooting/Ride In the Whirlwind over the weekend. Both are fantastic films. My first experiences with the "acid western", although I am a big western fan. I really like the sparsity of these films. Honestly, I prefer both of these unheralded films to the still- excellent My Darling Clementine. Only Criterion would give two films these this kind of treatment.

The Shooting was my favorite of the two, but I agree that they are classics and a perfect fit for the label. That said, John Ford and My Darling Clementine are on another level, but I'd be curious what Hellman could have done with a studio's backing and a decent budget.

[Yami]

Originally Posted by malakaheso

By Paramount? Are you sure? Why would they bother restoring a Bresson film?

Paramount own Une Femme Douce.

In the interests of accuracy, I think that the restoration was carried out at the Eclair lab on behalf of Cine-Mag Bodard and was at least partly funded by the CNC. But Paramount definitely own the rights.

[malakaheso]

Oh ok. I thought they no longer owned the rights. It doesn't seem like the kind of film they would bother keeping. It wasn't a huge hit, and it isn't regarded as a classic, so I figured they would have sold it off years ago.

Thanks

[Yami]

Here's a PDF (in French) with more information about the restoration. It was restored in 2K by Eclair "for Cine-Mag Bodard and Paramount with support from CNC" and was supervised by Mylene Bresson.

[filmmusic]

I was just searching something about Le Grand Bleu (1988) and I see this film hasn't got a US release.
Moreover, judging from the screenshots I see this could benefit much from a 4K scan. The grain doesn't look good in the existing Blurays.
Would there be anyone in favour of Criterion releasing this, possibly in all 3 cuts?
(although i'm interested really in the European ones - original and extended, with the original Serra score and original ending)

Maybe it's not something right up Criterion's alley?
Although you never know.

edit:
Oh, maybe this has been restored already?
http://www.festival-cannes.fr/en/article/59696.html

LE GRAND BLEU (THE BIG BLUE) (1988, 2h16) de Luc Besson
Digital restoration in SCOPE made by Gaumont in partnership with the Eclair Group laboratory

[Scottie]

The review of The Killers convinced me to purchase the set and give it another chance. I feel like I'll enjoy the 1946 story more on a repeat viewing, plus the Tarkovsky short has me interested, as well.

[Bates_Motel]

Originally Posted by iScottie

The review of The Killers convinced me to purchase the set and give it another chance. I feel like I'll enjoy the 1946 story more on a repeat viewing, plus the Tarkovsky short has me interested, as well.

May pick up the Arrow versions as well, at least for the 1964 version, since it has the theatrical 1.85 aspect ratio.

[jmclick]

Originally Posted by Bates_Motel

May pick up the Arrow versions as well, at least for the 1964 version, since it has the theatrical 1.85 aspect ratio.

Interesting! I know the 1964 film was originally made-for-television, so I always figured that it was intended to be shown in 1.33 or 1.37. Is the theatrical 1.85 version matted to achieve that "widescreen" aspect ratio?

[CriterionBlues]

Some Criterions are on sale at Amazon today. You find them at the Deals link above. My personal recommendation would be The Sword of Doom. It was a new discovery for me this year and blew my mind. One of the most memorable anti-heroes in film.

https://www.blu-ray.com/movies/The-S...ay/115397/?e=1

[jayembee]

Originally Posted by jmclick

Interesting! I know the 1964 film was originally made-for-television, so I always figured that it was intended to be shown in 1.33 or 1.37. Is the theatrical 1.85 version matted to achieve that "widescreen" aspect ratio?

It was originally intended to be made for TV, but was deemed too violent, and so was released to theaters instead. However, even when it was still planned as a TV movie, it was also intended to be released theatrically outside North America. So, it was protected for widescreen.

So, yes, the widescreen version is matted. But as far as I'm concerned, the proper ratio is 1.33/1.37. It would be nice to have both versions, but I can live with just the non-widescreen.

[Rich Pure Doom]

Originally Posted by SlickDamian

Watched The Shooting/Ride In the Whirlwind over the weekend. Both are fantastic films. My first experiences with the "acid western", although I am a big western fan. I really like the sparsity of these films. Honestly, I prefer both of these unheralded films to the still- excellent My Darling Clementine. Only Criterion would give two films these this kind of treatment.

You preferred those clunkers to My Darling Clementine? You sure it wasn't you who was on acid?

[Scottie]

I finally got around to updating my storefront and I have listed many Criterion titles for sale. If anyone is interested in something, feel free to PM me.

https://forum.blu-ray.com/showthread.php?p=10929744

[octagon]

Originally Posted by Rich Pure Doom

You preferred those clunkers to My Darling Clementine? You sure it wasn't you who was on acid?

I can't speak to whether they were better than MDC (not yet, anyway) but he's right about those two so-called clunkers being fantastic films.

Films like The Searchers are (rightly) lauded for being anti-westerns that challenge traditional westerns. Ride the Whirlwind and The Shooter are sort of anti-Technicolor anti-westerns that deconstruct both the substance and the visual spectacle of traditional westerns.

And when you think about it, a gritty, grimy visual approach to westerns makes at least as much sense (and was at least as daring) as the gritty, grimy visual approach to urban stories that everybody (again, rightly) points to when singing the praises of Hollywood's Last Great Golden Age.

Are they the kind of 'omg, you have to see this' movies you can't wait to turn your friends on to? Maybe not.

But they're awfully good.

[Rich Pure Doom]

Originally Posted by octagon

I can't speak to whether they were better than MDC (not yet, anyway) but he's right about those two so-called clunkers being fantastic films.

Films like The Searchers are (rightly) lauded for being anti-westerns that challenge traditional westerns. Ride the Whirlwind and The Shooter are sort of anti-Technicolor anti-westerns that deconstruct both the substance and the visual spectacle of traditional westerns.

And when you think about it, a gritty, grimy visual approach to westerns makes at least as much sense (and was at least as daring) as the gritty, grimy visual approach to urban stories that everybody (again, rightly) points to when singing the praises of Hollywood's Last Great Golden Age.

Are they the kind of 'omg, you have to see this' movies you can't wait to turn your friends on to? Maybe not.

But they're awfully good.

I guess we'll have to agree to disagree. I found them both agonizingly boring, poorly acted, poorly scripted, and poorly directed. The "reveal" at the end of the Shooting or whatever it was was laughable at best. I normally am not bothered remotely by low budgets etc. but these two just didn't do it for me.