The Criterion Collection

[Ray Jackson]

Originally Posted by RojD

WOW! Someone who likes Lawrence of Arabia as much as I do! It's my favorite film, too. I even went to Jordan with some friends to camp in Wadi Rum and skip around singing "I'm the man who broke the bank at Monte Carrrr-lo. And Peter O'Toole was tremendous. So much is right in that film.

Favorite Director: Jean Renoir (but I really, really like PT Anderson)
Favorite lead actress: Catherine Deneuve in Repulsion (or Ingrid Bergman in Spellbound) (or Louise Brooks in Pandora's Box) (or Cate Blanchett in Blue Jasmine)

If I were to make a list of the ten greatest films ever made--not my own personal favorites--but a good faith effort at objectively judging their artistic merit and impact on the medium, then Lawrence of Arabia would be on that list.

It's the greatest epic film ever made imo.

...and the epic genre should be represented on a top ten list like that one.

[oildude]

I thought I would share some limited edition prints of some films in the Criterion Collection I have been collecting lately. These are contemporary renditions inspired by films considered part of the cultural legacy of Europe. These are absolutely gorgeous and will hang in my movie room or in different locations around my place once I get them framed.

I have spoiler tagged them because the images are a bit large.

[Show spoiler]

And one Truffaut not in the Criterion Collection, but part of the set above:

[Show spoiler]

[Edward J Grug III]

Those are neat. Where are they from?

[jw007]

Originally Posted by soarinsteven

Black Moon - Unfortunately, I had to end my run yesterday on the most frustrating, beguiling, vexing title. I think I placed this in my queue solely on Louis Malle's name alone. Bad idea. I was quite entranced for the first half hour or so, and was quite taken by it's peculiar lead actress, and the Wonderland in hell imagery that I almost didn't noticed that no distinguishable dialogue is spoken in the first 30 minutes. Once it settles in a bit, and introduces the other characters tho. The movie just becomes increasingly bizarre and W-T-F.

Very difficult trying to figure out what Louis Malle was aiming for here. The only theme I took away was that humans had all but killed themselves,(and that poor eagle! ) and the animals were soon to take over, and replace the humans. Would love to hear from the some of the film's fans here on their interpretations.

I agree very much with what oildude said earlier about Black Moon.

What I'd like to add with my own thoughts is that what makes this film so interesting is the MYSTERY behind this!

This mystery and intrigue makes me only want to re-watch this film even more.

A perfect example of a film that I still don't understand fully but have to re-watch again more and more to solve the mystery is 2001: A Space Odyssey. It's that damn ending! I still re-interpret that ending so many times. I can't seem to wrap my head around this even though I have a feeling I know where Kubrick is going.

With Malle's dystopian re-interpretation of Lewis Carroll's novel, I have now re-watched Black Moon about 5 times since I first saw it. There are still some things I don't quite understand about this film which makes me see it as mysterious. What makes a movie great in my opinion is how open to different interpretations it is. Black Moon is an oddball of a film but to me its good because it doesn't give itself away or reveals answers conveniently like so many lesser-talented directors often do with their films.

[oildude]

Originally Posted by Edward J Grug III

Those are neat. Where are they from?

http://www.nautilus-artprints.com/

The one that surprised me the most when I saw it in person was Les Vacances de Monsieur Hulot. The picture doesn't do it justice; it is fantastic. I almost did not order it thinking it looked a bit bland next to the color version which had already sold out (even though the image better fits the black and white of the film). I am so glad I decided to order it along with Mon Oncle.

[Edward J Grug III]

Originally Posted by oildude

http://www.nautilus-artprints.com/

The one that surprised me the most when I saw it in person was Les Vacances de Monsieur Hulot. The picture doesn't do it justice; it is fantastic. I almost did not order it thinking it looked a bit bland next to the color version which had already sold out (even though the image better fits the black and white of the film). I am so glad I decided to order it along with Mon Oncle.

I wish I liked Jules and Jim more, because that one is beautiful.

[SeanJoyce]

As a Melville fanatic/completist, I'd love it if Criterion's infatuation with him continued...if only to satisfy the OCD in me knowing we got at least 10 releases

After the Cohen Collection's excellent release of Two Men in Manhattan, that leaves Un Flic, When You Read This Letter, and Magnet of Doom. I could easily see a double release for the second two, since they're the most forgotten and as of now unavailable.

Think there's any hope of either/or of these things happening?

[malakaheso]

Originally Posted by MifuneFan

I love both, but I disagree. I think Kurosawa had a lot more range. He tackled period samurai films, detective noir stories, family dramas and more. . Ozu spent most of his career dealing with the family dynamic in/around Tokyo, even retelling the same story in different ways over his career. I think Ozu was a master of that, he really understood the struggle between father and daughter, husband and wife, etc... but as a filmmaker he never branched out too much from that territory. Kurosawa wasn't just a great director either, he was an amazing writer, editor, and visual artist. He experimented frequently with new camera techniques, many which are mimicked today. He demanded the best out of his actors and it shows. There were many Ozu films on the other hand that have several mediocre performances in them.

Ozu was more consistent with his particular style of filming, and used less camera and editing techniques as he got older. He wasn't big on innovations coming out (e.g. Cinemascope). You can say he was a bit stubborn as a filmmaker. All of this gives us what many of us love about Ozu films though. They have a very relaxed, and immersive feel to them. They're simply filmed, but in the sense that you aren't distracted by anything and can focus solely on the story.

So I think both were among masters at what they chose to focus on, but overall I think Kuroswa was the superior filmmaker of the two and made a greater impact to the industry.

But who did Kurosawa influence? Mostly blockbuster film makers. Ozu influenced more artistic film makers.

Overall Ozu had more depth. Perhaps he didn't have range, but his films were more meaningful.

[darkness2918]

Originally Posted by SeanJoyce

As a Melville fanatic/completist, I'd love it if Criterion's infatuation with him continued...if only to satisfy the OCD in me knowing we got at least 10 releases

After the Cohen Collection's excellent release of Two Men in Manhattan, that leaves Un Flic, When You Read This Letter, and Magnet of Doom. I could easily see a double release for the second two, since they're the most forgotten and as of now unavailable.

Think there's any hope of either/or of these things happening?

Its funny, I made a post not even a day ago saying I hope Criterion does a release of Un Flic lol.

[MifuneFan]

Originally Posted by malakaheso

But who did Kurosawa influence? Mostly blockbuster film makers. Ozu influenced more artistic film makers.

Overall Ozu had more depth. Perhaps he didn't have range, but his films were more meaningful.

It's probably impossible to name the amount of films thst owe credit to Kuroswa in some fashion. Thinking he only influenced "blockbuster film makers " is a great disservice to him and his craft. I recommend you do a little more research.

[malakaheso]

Originally Posted by SlickDamian

Paris, Texas
The Double Life of Veronique

Paris Texas is a pretty straightforward film though. I'm surprised that anyone found it challenging, unless it was the first 'art' film they watched.

[Ray Jackson]

Originally Posted by malakaheso

But who did Kurosawa influence? Mostly blockbuster film makers. Ozu influenced more artistic film makers.

Overall Ozu had more depth. Perhaps he didn't have range, but his films were more meaningful.

I strongly disagree with you on all counts.

But I respect your opinion.

...no one is right and no one is wrong.

[malakaheso]

Originally Posted by MifuneFan

It's probably impossible to name the amount of films thst owe credit to Kuroswa in some fashion. Thinking he only influenced "blockbuster film makers " is a great disservice to him and his craft. I recommend you do a little more research.

I didn't say only, I said mostly. and the film makers that rave about him the most as being an influence were blockbuster film makers like Spielberg and Lucas. Sure others like Bergman were admirers, but he wasn't a direct influence on their work.

There are very few film makers that capture the passing of time and the transience of human existence like Ozu.

I would also suggest that those who are confused about why Ozu is gaining popularity over Kurosawa in some film circles, especially among formalists, need to look more closely at his use of form. i.e camera positioning, use of space, blocking, placement etc and how that ties in with the themes that he is exploring and communicating to his audience.

There is a far tighter link between form and content in the films of Ozu than Kurosawa, just as there is a much tighter link in the films of Bresson than Bergman.

[Ray Jackson]

Just want to thank anyone here who offered me any encouragement on the blind buy purchase of Picnic at Hanging Rock.

Finished it tonight and it will undoubtedly go down as one of "those" films that change the course of my cinematic journey forever.

Like Sans Soleil and Days of Heaven, Tree of Life and Aguirre: The Wrath of God, I will revisit this film year in and year out until the day I depart this earth.

...goodnight and god bless.

[malakaheso]

Picnic At Hanging Rock is quite good but at times it plays like a 70's shampoo commercial.

[darkness2918]

Originally Posted by Ray Jackson

Just want to thank anyone here who offered me any encouragement on the blind buy purchase of Picnic at Hanging Rock.

Finished it tonight and it will undoubtedly go down as one of "those" films that change the course of my cinematic journey forever.

Like Sans Soleil and Days of Heaven, Tree of Life and Aguirre: The Wrath of God, I will revisit this film year in and year out until the day I depart this earth.

...goodnight and god bless.

Now you are making me want to blind buy it lol.

[Ray Jackson]

Originally Posted by malakaheso

I didn't say only, I said mostly. and the film makers that rave about him the most as being an influence were blockbuster film makers like Spielberg and Lucas. Sure others like Bergman were admirers, but he wasn't a direct influence on their work.

There are very few film makers that capture the passing of time and the transience of human existence like Ozu.

That first part is just demonstrably false.

Countless art film directors have lavished Kurosawa with praise and adoration.

Kubrick, Jim Jarmusch, Terry Gilliam, Woody Allen and too many others to name in one post.

[Ray Jackson]

Originally Posted by darkness2918

Now you are making me want to blind buy it lol.

Let me say that I can completely understand why some people would hate it.

...it is one of "those" kind of films.

But there's something mystic and spiritual about it that completely captivated me.

For 20 bucks I would strongly recommend taking a leap of faith on this one.

[malakaheso]

Yes they have 'praised' him, but have they applied his cinematic techniques? That is the point I'm making.


Woody Allen also isn't an 'art film' maker'. He is a middle of the road comedic-dramatist. I wouldn't even classify Gilliam as an art film maker, but he does obviously flirt with ideas and techniques that were influenced by the directors from the 50's and 60's he admired.

[Ray Jackson]

Originally Posted by malakaheso

Picnic At Hanging Rock is quite good but at times it plays like a 70's shampoo commercial.

You dare to call yourself an Aussie?!!