The Criterion Collection

[Fabs]

Originally Posted by shadedpain4

Since Taiwanese Cinema is typical around here at the moment, I thought I'd point out that this releases in a few days. Early work from both Edward Yang and Hou Hsiao-Hsien, as well as other Taiwanese new wave filmmakers, all on blu-ray and with (as far as I know) English subs for the first time.

Plus, Hou Hsiao-Hsien's The Assassin has its domestic blu release in the states next month.

It's a good time to be a fan on Taiwanese Cinema!

Pretty cool. I'm hoping they release Hou's Daughter of the Nile in some form, as that one has been restored too.

[shadedpain4]

Originally Posted by Fabs

Pretty cool. I'm hoping they release Hou's Daughter of the Nile in some form, as that one has been restored too.

Now Criterion just needs to give A City Of Sadness the same treatment it's giving A Brighter Summer Day!

[Bates_Motel]

Originally Posted by Ray Jackson

Reasons?

...you like The Big City?

I love most of Ray's films. They are all worth getting, IMO, but The Music Room just resonates with me.

Originally Posted by Ray Jackson

Repulsion?

Good?

Great?

Overrate?

...boring?

The best slow burn film ever. Starts off slow on purpose, because Polanski is a master manipulator, but stick with it. One of the great psychological horror films, with a killer final shot that many people don't realize explains the entire film.

[Namuhana]

So, I just finished watching A Special Day, and I am completely floored. I bought it during the November B&N sale as a blind-buy, having little to no knowledge about it. I'm so glad I ended up buying it. Sophia Loren and Marcello Mastroianni are spectacular. They realized something special on the screen, and this film is one I'm likely to never forget. A truly marvelous film and one that everyone should see.

[ShellOilJunior]

Originally Posted by Namuhana

So, I just finished watching A Special Day, and I am completely floored. I bought it during the November B&N sale as a blind-buy, having little to no knowledge about it. I'm so glad I ended up buying it. Sophia Loren and Marcello Mastroianni are spectacular. They realized something special on the screen, and this film is one I'm likely to never forget. A truly marvelous film and one that everyone should see.

The look of the film is unforgettable with its color tint. I can still see the places in the film in my head.

[llj]

Originally Posted by Ray Jackson

It's time to play a little game of blu-ray Thunderdome fellas:

The Big City or The Music Room?

Two Criterions enter...one Criterion leaves.

...I need strong opinions and I need em' now!!!!

I prefer The Big City, but The Music Room is good too.

The Big City (and Charulata, the other Ray Criterion) feel very much like Indian versions of an Ozu film, if I can make a very crude comparison. They are films in which most of the action takes place within households and interior settings, with much of the drama being about the underlying tensions within these families due to the decisions of one or two characters that upset the status quo of the family unit. There are also the usual themes of cultural tradition vs modernization, as well as the familiar theme of the impact of westernization.

[pedromvu]

Originally Posted by llj

I prefer The Big City, but The Music Room is good too.

The Big City (and Charulata, the other Ray Criterion) feel very much like Indian versions of an Ozu film, if I can make a very crude comparison. They are films in which most of the action takes place within households and interior settings, with much of the drama being about the underlying tensions within these families due to the decisions of one or two characters that upset the status quo of the family unit. There are also the usual themes of cultural tradition vs modernization, as well as the familiar theme of the impact of westernization.

Just taking in account the themes I can see how they are similar, I have been watching several Indian films and like Ozu stories, they always revolve around these familiar themes, the importance of family and marriage specially seems to be on every movie (I thought I have seen pretty much every variation of a marriage plot unless I started with Indian cinema , I guess being cultures were arranged marriages are common has something to do with it).

But stylistically Ozu is so different that I find it hard to compare to The Big City or Charulata, both are great, but Ray at this stage feels much more dynamic than Ozu which has too many static shots.

[llj]

Originally Posted by pedromvu

Just taking in account the themes I can see how they are similar, I have been watching several Indian films and like Ozu stories, they always revolve around these familiar themes, the importance of family and marriage specially seems to be on every movie (I thought I have seen pretty much every variation of a marriage plot unless I started with Indian cinema , I guess being cultures were arranged marriages are common has something to do with it).

But stylistically Ozu is so different that I find it hard to compare to The Big City or Charulata, both are great, but Ray at this stage feels much more dynamic than Ozu which has too many static shots.

Ozu's style was static by choice. Pre-war he used to be more fancy with the camera, but after the war, anytime Ozu does anything other than a static shot and a cut, I am shocked. There's one part in Early Summer for instance where there is a short, silky tracking shot of Setsuko Hara walking...I was shocked to see it in a film I considered to be somewhere during the "prime" of Ozu's most well known period, and indeed, shots like that rarely occurred--if at all--in any Ozu films afterward. I think Ozu said a number of times that it was a shooting style which suited his personal vision the most. Also, back in the early days of Ozu film analysis, Ebert used to make a big deal about Ozu only shooting from only around knee-length for anything other than close ups and scene-setting shots. This of course is post-war Ozu as well; earlier Ozu was a lot more dynamic and conventional.

Stylistically, I would say Ray shows more influence from Renoir, but I'm sure there are other sources the more eagle-eyed could find in his work.

But yeah, I just wanted to say that I felt The Big City and Charulata sort of belonged in that "home films" film genre that Ozu is most known for, although that isn't even really accurate since there are plenty of late Ozu films with scenes in the workplace (much like The Big City). But it's an easy point of reference for the uninitiated.

There's a poster over at the Criterionforum.org who's much more of an expert than I am about Ozu's methods, though. So if you REALLY want to know why Ozu does what he does, sign up over there, post ANY question in any Ozu thread and he will respond with an informative post with 100% certainty.

[pedromvu]

Originally Posted by llj

Ozu's style was static by choice. Pre-war he used to be a little more fancy with the camera, but after the war, anytime Ozu does anything other than a static shot and a cut, I am shocked. There's one part in Early Summer for instance where there is a short, silky tracking shot of Setsuko Hara walking...I was shocked to see it in a film I considered to be somewhere during the "prime" of Ozu's most well known period, and indeed, shots like that rarely occurred--if at all--in any Ozu films afterward. I think Ozu said a number of times that it was a shooting style which suited his personal vision the most. Also, back in the early days of Ozu film analysis, Ebert used to make a big deal about Ozu only shooting from only around knee-length for anything other than close ups and scene-setting shots. This of course is post-war Ozu as well, Earlier Ozu was a lot more dynamic and conventional.

Stylistically, I would say Ray shows more influence from Renoir, but I'm sure there are other sources the more eagle-eyed could find in his work.

I am not sure which scene you mean on Early Summer, but I remember there is one on Late Spring at 59:40 which I thought was really effective, and made me wonder why he didn't use those more though.

[Show spoiler]

Late Spring(1949)-Yasujir� Ozu - YouTube

While I appreciate his style with static shots, I still prefer that the camera moves from time to time.

[llj]

Originally Posted by pedromvu

I am not sure which scene you mean on Early Summer, but I remember there is one on Late Spring at 59:40 which I thought was really effective, and made me wonder why he didn't use those more though.

[Show spoiler]Late Spring(1949)-Yasujir� Ozu - YouTube

While I appreciate his style with static shots, I still prefer that the camera moves from time to time.

34:19 seems more like the one I was thinking of, but I recall the shot starting from the front of her.

Your example is not the one I'm thinking of. I'm sure the one I'm thinking of was in Early Summer. He cheats a little on your example since it's a shot of them walking towards the camera so while the camera is following them by pulling back, the shot still remains relatively static aside from the backgrounds scrolling.

The one in my memory has Setsuko Hara walking by herself on the street, and the camera is following her closely from the side view, much like the one in 34:19 but a little closer. So it's actually an honest to goodness Orson Welles' Touch-of-Evil-kind-of-tracking-shot.

[jw007]

A Criterion viewing update on my end...

3 nights ago I watched The Friends of Eddie Coyle and frankly I did not enjoy the film too much. Add to that the dearth of supplements which sort of surprised me since I thought there would be more included. During the film, I kept glancing at the timecode on my blu-ray player to see when the movie would finally end. In retrospect I think its a brilliant film, but I wasn't fully prepared for this very "cerebral crime drama" (in my quotes).

2 nights ago I watched Two Days, One Night, and I was thoroughly engaged from start to finish. The first time I glanced at my blu-ray player to see where the timecode was, was about 68 min. into the movie, which means the film went by fast and I lost track of time. This is a fantastic "fable" as referred to of the Dardennes, and encompassed "a morality play inside a social commentary of the human condition" (in my quotes).

1 night ago around 2:15 am, I watched the 51 minute interview of the Dardennes bros. and the 22 minute interview of Marion Cotillard and Fabrizio Rongione and could barely keep my eyes open, but I learned even more than I ever expected.

[AaronJ]

As to Two Days, One Night, I had a very similar experience. I was so utterly engaged in the film that when it ended I was almost surprised. Cotillard was, as usual, splendid -- actually an understatement. It's a powerful film. I'm glad that Criterion released it and I'm glad that I chose to purchase it.

Speaking of Marion Cotillard, I cannot wait until Macbeth is released on Blu. What a performance, by not just her but of course by Fassbender. Anyone who has a chance to see this should.

Oh, and to as to Ozu, that's one of my New Year's Resolutions for 2016 -- I need to learn more about him, and see more of his films. Right now, I've seen two.

[jw007]

Originally Posted by AaronJ

As to Two Days, One Night, I had a very similar experience. I was so utterly engaged in the film that when it ended I was almost surprised. Cotillard was, as usual, splendid -- actually an understatement. It's a powerful film. I'm glad that Criterion released it and I'm glad that I chose to purchase it.

Speaking of Marion Cotillard, I cannot wait until Macbeth is released on Blu. What a performance, by not just her but of course by Fassbender. Anyone who has a chance to see this should.

I agree with 100% of what you wrote.

It's a fine film and a great example of minimal but greatly effective plot.

I feel the "less is more" approach by the Dardennes bros. is what makes them stand apart from the rest of the pack.

One other observation... much like the director of Revanche (Götz Spielmann), the use of music in Two Days, One Night is similar, as the only time we hear music is when the two main characters are sitting in the front seat of the car driving and playing music. There is no unnecessary manipulation in the film by showcasing a soundtrack in the background. It's brilliant in a minor way.

[AaronJ]

Originally Posted by jw007

I agree with 100% of what you wrote.

It's a fine film and a great example of minimal but greatly effective plot.

I feel the "less is more" approach by the Dardennes bros. is what makes them stand apart from the rest of the pack.

One other observation... much like the director of Revanche (Götz Spielmann), the use of music in Two Days, One Night is similar, as the only time we hear music is when the two main characters are sitting in the front seat of the car driving and playing music. There is no unnecessary manipulation in the film by showcasing a soundtrack in the background. It's brilliant in a minor way.

Excellent point about the music. That hadn't struck me, but once you said it, it all came back.

Yes, there is an incredibly minimalist, realist style to the film and it even extends to Cotillard: they have her essentially make-up free, and she really does look like a working-class young woman who is in desperate straits. Make-up, hair, costuming -- she seems so real. And thus, so does the whole film since everyone else is treated the same way.

[Scottie]

I really loved Two Days, One Night and I consider it one of the best from last year. However, I found myself less engaged with it on a second viewing.

[pedromvu]

Originally Posted by jw007

I agree with 100% of what you wrote.

It's a fine film and a great example of minimal but greatly effective plot.

I feel the "less is more" approach by the Dardennes bros. is what makes them stand apart from the rest of the pack.

I love the Dardennes style, I suppose you have seen their previous film, The Kid with a Bike, I remember more music there, but the way they used it reminded me a lot of A Man Escaped.

[jw007]

Originally Posted by AaronJ

Excellent point about the music. That hadn't struck me, but once you said it, it all came back.

Yes, there is an incredibly minimalist, realist style to the film and it even extends to Cotillard: they have her essentially make-up free, and she really does look like a working-class young woman who is in desperate straits. Make-up, hair, costuming -- she seems so real. And thus, so does the whole film since everyone else is treated the same way.

Wow, I didn't even realize that! I did notice there was a distinct minimalism to her character's "looks"... and I didn't even know who the main star was (Cotillard) when I popped the disc into my player, so I didn't have that stigma to begin with, that I was watching a world famous actress. I went into watching this film completely "naked" and I think it paid off. I love the fact that there was no glamorization in this movie about working class life. It reminds me a bit of Fish Tank too.

[joie]

It's interesting that "Bicycle Thieves" is coming with an English dub. There was English audio available for "Fellini's Satyricon" and "Day for Night," but wasn't included with either.

I am curious whether people who prefer subtitles over a dub sit so far away that the subtitles are in their central rather than peripheral vision, so they don't have to glance down to read them.

[InTheMood]

Originally Posted by joie

I am curious whether people who prefer subtitles over a dub sit so far away that the subtitles are in their central rather than peripheral vision, so they don't have to glance down to read them.

Not this conversation again...

[joie]

Originally Posted by InTheMood

Not this conversation again...

When Kim Novak was having a bad day -- "agitated and despondent" -- on the set of " Vertigo," Alfred Hitchcock told her, "It's only a movie, let's not go too deeply into these things."