What's up with the site's user scores? 3.2/10 stars? Yikes.
This does look like the awesomest thing ever. I'm not even a sports fan, and 6,000+ minutes of this might be way too much to warrant a purchase. But my interest sure is piqued.
What's up with the site's user scores? 3.2/10 stars? Yikes.
This does look like the awesomest thing ever. I'm not even a sports fan, and 6,000+ minutes of this might be way too much to warrant a purchase. But my interest sure is piqued.
I have no idea what that score is based off of. I think those ratings come from IMDB, but I'm not sure which film in particular it's relating too. Certainly, that's not the rating given by users on this site.
Edit: I think I know what's happening. Some of the films have high ratings, stemming from user votes, but a lot of them have 0.0 ratings, because they haven't been rated at all. So all of those zero star titles gets averaged into the total score for the set, bringing it down to 3.2.
Edit: I think I know what's happening. Some of the films have high ratings, stemming from user votes, but a lot of them have 0.0 ratings, because they haven't been rated at all. So all of those zero star titles gets averaged into the total score for the set, bringing it down to 3.2.
Ah yes, that makes sense. And this set does have so many films.
I think its one of the Forbidden Hollywood box sets. There's like 10 of them.
It's on Vol. 2 of that series. If I recall correctly, The first three volumes were initially released under the TCM Archives banner and were regular pressed discs. Starting with vol. 4 they became MOD sets and later the older sets were reissued also as MOD.
You mean every 2 years. The Olympic games are held every 2 years (Summer and Winter).
After watching I, Tonya yesterday (great film btw), I learned that it was only in 1994 that it was first switched to the every 2 years schedule for the Winter/Summer games. The previous Winter Olympics was in 1992, same year as the Summer games, but they held another winter games in '94 in Lillehammer to get them into that 2 year pattern.
If it wasn't for that change in scheduling, most of us probably wouldn't have even heard of Tonya Harding, as her career was seemingly over after the '92 Olympics, but got a 2nd chance in '94, which eventually led to the to Kerrigan incident that year.
A traveling retrospective of all of his theatrical films. Newly-restored!
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Join Janus Films in 2018 as we celebrate the centennial of the Swedish director's birth with a traveling retrospective of all of his theatrical films!
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AUTUMN SONATA
Autumn Sonata was the only collaboration between cinema’s two great Bergmans: Ingmar, the iconic director of The Seventh Seal, and Ingrid, the monumental star of Casablanca. The grand dame, playing an icy concert pianist, is matched beat for beat in ferocity by the filmmaker’s recurring lead Liv Ullmann, as her eldest daughter. Over the course of a day and a long, painful night that the two spend together after an extended separation, they finally confront the bitter discord of their relationship. This cathartic pas de deux, evocatively shot in burnished harvest colors by the great Sven Nykvist, ranks among Ingmar Bergman’s major dramatic works.
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CRIES AND WHISPERS
This existential wail of a drama from Ingmar Bergman concerns two sisters, Karin (Ingrid Thulin) and Maria (Liv Ullmann), keeping vigil for a third, Agnes (Harriet Andersson), who is dying of cancer and can find solace only in the arms of a beatific servant (Kari Sylwan). An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquillity and terror.
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CRISIS
In Ingmar Bergman's feature directing debut, urban beauty-shop proprietress Miss Jenny arrives in an idyllic rural town one morning to whisk away her eighteen-year-old daughter, Nelly, whom she abandoned as a child, from the loving woman who has raised her. Once in Stockholm, Nelly receives a crash course in adult corruption and wrenching heartbreak.
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FANNY AND ALEXANDER — THE TELEVISION VERSION
Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling bourgeois clan in turn-of-the-twentieth-century Sweden. Ingmar Bergman intended Fanny and Alexander as his swan song, and it is the legendary director’s warmest and most autobiographical film, a four-time Academy Award–winning triumph that combines his trademark melancholy and emotional intensity with immense joy and sensuality. Ingmar Bergman described Fanny and Alexander as "the sum total of my life as a filmmaker." And in this, the full-length (312-minute) version of his triumphant valediction, his vision is expressed at its fullest.
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THE MAGIC FLUTE
Ingmar Bergman puts his indelible stamp on Mozart’s exquisite opera in this sublime rendering of one of the composer’s best-loved works: a celebration of love, forgiveness, and the brotherhood of man. The Magic Flute (Trollflöjten) stars Josef Köstlinger as Tamino, the young man determined to rescue a beautiful princess from the clutches of parental evil.
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THE MAGICIAN
Ingmar Bergman's The Magician (Ansiktet) is an engaging, brilliantly conceived tale of deceit from one of cinema’s premier illusionists. Max von Sydow stars as Dr. Vogler, a nineteenth-century traveling mesmerist and peddler of potions whose magic is put to the test in Stockholm by the cruel, eminently rational royal medical adviser Dr. Vergérus. The result is a diabolically clever battle of wits that’s both frightening and funny, shot in rich, gorgeously gothic black and white.
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PERSONA
By the midsixties, Ingmar Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical Persona, this supreme artist attained new levels of visual poetry. In the first of a series of legendary performances for Bergman, Liv Ullmann plays a stage actor who has inexplicably gone mute; an equally mesmerizing Bibi Andersson is the garrulous young nurse caring for her in a remote island cottage. While isolated together there, the women perform a mysterious spiritual and emotional transference that would prove to be one of cinema’s most influential creations. Acted with astonishing nuance and shot in stark contrast and soft light by the great Sven Nykvist, Persona is a penetrating, dreamlike work of profound psychological depth.
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PORT OF CALL
In Ingmar Bergman's Port of Call, Berit, a suicidal young woman living in a working-class port town, unexpectedly falls for Gösta, a sailor on leave. Haunted by a troubled past and held in a vice grip by her domineering mother, Berit begins to hope that her relationship with Gösta might save her from self-destruction.
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THE RITE
In one of Ingmar Bergman’s most stylized and political films, three traveling actors are accused of taking part in a performance deemed pornographic by the state’s authorities. Before an intractable judge, they are forced to defend themselves and their art, but their own personal flaws and scandals also are brought to the fore. Taking place in a shadowy bureaucratic netherworld, The Rite confronts artistic censorship while also investigating such Bergman-esque themes as sexual violence and the nature of performance.
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SAWDUST AND TINSEL
Ingmar Bergman presents the battle of the sexes as a ramshackle, grotesque carnival in Sawdust and Tinsel, one of the late master's most vivid early works. The story of the charged relationship between a turn-of-the-century traveling circus owner (Ake Grönberg) and his performer girlfriend (Harriet Andersson), the film features dreamlike detours and twisted psychosexual power plays that presage the director's Smiles of a Summer Night and The Seventh Seal, works that would soon change the landscape of art cinema forever.
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SCENES FROM A MARRIAGE
Scenes from a Marriage chronicles the many years of love and turmoil that bind Marianne (Liv Ullmann) and Johan (Erland Josephson) through matrimony, infidelity, divorce, and subsequent partners. Shot in intense, intimate close-ups by master cinematographer Sven Nykvist and featuring flawless performances, Ingmar Bergman’s emotional X-ray reveals the intense joys and pains of a complex relationship.
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SECRETS OF WOMEN
Over the course of his amazing sixty-plus year career, Swedish filmmaker Ingmar Bergman created countless substantial, multidimensional roles for female actors. One of his most unfairly ignored films is this early drama, featuring three of his favorite stars from the first decade of his career—Anita Björk, Eva Dahlbeck, and Maj-Britt Nilsson—as sisters-in-law vacationing at a summer home. There they share stories about their marriages while waiting for their husbands to arrive. Humorous as well as heartbreaking, the film is a fascinating precursor to both Smiles of a Summer Night and Persona.
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THE SEVENTH SEAL
Disillusioned and exhausted after a decade of battling in the Crusades, a knight (Max von Sydow) encounters Death on a desolate beach and challenges him to a fateful game of chess. Much studied, imitated, even parodied, but never outdone, Bergman’s stunning allegory of man’s search for meaning, The Seventh Seal (Det sjunde inseglet), was one of the benchmark foreign imports of America’s 1950s art-house heyday, pushing cinema’s boundaries and ushering in a new era of moviegoing.
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THE SILENCE
Two sisters—the sickly, intellectual Ester (Ingrid Thulin) and the sensual, pragmatic Anna (Gunnel Lindblom)—travel by train with Anna’s young son Johan (Jorgen Lindstrom) to a foreign country seemingly on the brink of war. Attempting to cope with their alien surroundings, the sisters resort to their personal vices while vying for Johan’s affection, and in so doing sabotage any hope for a future together. Regarded as one of the most sexually provocative films of its day, Ingmar Bergman’s The Silence offers a brilliant, disturbing vision of emotional isolation in a suffocating spiritual void.
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SMILES OF A SUMMER NIGHT
After fifteen films that received mostly local acclaim, the 1955 comedy Smiles of a Summer Night (Sommarnattens leende) at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men’s hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema’s great erotic comedies.
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SUMMER INTERLUDE
Touching on many of the themes that would define the rest of his legendary career—isolation, performance, the inescapability of the past—Ingmar Bergman’s tenth film was a gentle drift toward true mastery. In one of the director’s great early female roles, Maj-Britt Nilsson beguiles as an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). Her memories of the sunny, rocky shores of Stockholm’s outer archipelago mingle with scenes from her gloomy present, most of them set in the dark backstage environs of the theater where she works. A film that the director considered a creative turning point, Summer Interlude (Sommarlek) is a reverie about life and death that unites Bergman’s love of theater and cinema.
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SUMMER WITH MONIKA
Inspired by the earthy eroticism of Harriet Andersson, in the first of her many roles for him, Ingmar Bergman had a major international breakthrough with this sensual and ultimately ravaging tale of young love. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach, far from parents and responsibilities. Inevitably, it is not long before the pair are forced to return to reality. The version initially released in the U.S. was reedited by its distributor into something more salacious, but the original Summer with Monika (Sommaren med Monika), presented here, is a work of stunning maturity and one of Bergman’s most important films.
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THROUGH A GLASS DARKLY
While vacationing on a remote island retreat, a family’s already fragile ties are tested when daughter Karin (Harriet Andersson) discovers her father has been using her schizophrenia for his own literary means. As she drifts in and out of lucidity, the father (Gunnar Björnstrand), along with Karin’s husband (Max von Sydow) and her younger brother (Lars Passgård) are unable to prevent Karin’s harrowing descent into the abyss of mental illness. Winner of the 1962 Academy Award for Best Foreign Language Film and featuring an astonishing lead performance by Andersson, Through a Glass Darkly presents an unflinching vision of a family’s near disintegration and a tortured psyche further taunted by God’s intangible presence.
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TO JOY
An orchestra violinist's dreams of becoming a celebrated soloist and fears of his own mediocrity get in the way of his marriage to the patient, caring Marta. Played out to the music of Beethoven, Ingmar Bergman's To Joy is a heartbreaking tale of one man's inability to overcome the demons standing in the way of his happiness.
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THE VIRGIN SPRING
Winner of the Academy Award for Best Foreign Language Film, Ingmar Bergman’s The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden. Starring frequent Bergman collaborator and screen icon Max von Sydow, the film is both beautiful and cruel in its depiction of a world teetering between paganism and Christianity, and of one father’s need to avenge the death of a child.
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WILD STRAWBERRIES
Traveling to accept an honorary degree, Professor Isak Borg—masterfully played by veteran director Victor Sjöström—is forced to face his past, come to terms with his faults, and make peace with the inevitability of his approaching death. Through flashbacks and fantasies, dreams and nightmares, Wild Strawberries dramatizes one man’s remarkable voyage of self-discovery. This richly humane masterpiece, full of iconic imagery, is a treasure from the golden age of art-house cinema and one of the films that catapulted Ingmar Bergman to international acclaim.
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WINTER LIGHT
“God, why did you desert me?” With Winter Light, master craftsman Ingmar Bergman explores the search for redemption in a meaningless existence. In this stark depiction of spiritual crisis, small-town pastor Tomas Ericsson (Gunnar Björnstrand) performs his duties mechanically before a dwindling congregation. When he is asked to assist with a troubled parishioner’s (Max von Sydow) debilitating fear of nuclear annihilation, Tomas is terrified to find that he can provide nothing but his own uncertainty. Beautifully photographed by Sven Nykvist, Winter Light is an unsettling look at the human craving for personal validation in a world seemingly abandoned by God.
Is there a full list of all the 29.95 Criterion list price titles?
The Uninvited
Three Outlaw Samurai
Summer Interlude
The Organizer
The Moment of Truth
Ministry of Fear
The Makioka Sisters
Letter Never Sent
Jubal
Jellyfish Eyes
Identification of a Woman
I Married a Witch
Gate of Hell
David Lynch: The Art Life
Blue is the Warmest Color
Bitter Rice
Stopped by B&N today and picked up the David Lean Directs Noël Caward boxset for $40.06 (40% off blu-rays + 10% member discount + 30% member coupon). I’ve only seen Blithe Spirit and longed for an individual release, but now I’m going to give the other 3 films a try and see how they affect me.
I’m starting with Brief Encounter tonight.
That's a great set. I was a little iffy on buying it blind but I'm really glad I did.
The supplement package is particularly good. There's some really good stuff in there and a lot of it focuses not just on the films but Noel Coward in general.
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