The Criterion Collection

[Abdrewes]

Originally Posted by SilentDawn

Drive is such a homage to Thief that it's almost scary. From the opening scene with hardly any dialogue, to the electronic score and neon lights. Also, the sudden bursts of violence, it's all there in Thief.

Hmm. I think once you see The Driver, you'll see that it is closer to that film. Because after the credits, Drive is nothing at all like Mann's stuff.

[Visco.]

Originally Posted by Abdrewes

Hmm. I think once you see The Driver, you'll see that it is closer to that film. Because after the credits, Drive is nothing at all like Mann's stuff.

Agreed! But I wish it was more similar to Mann's stuff. I'd like his work a lot more.

[Page14]

Just finished watching 3 Women (plus the commentary).

The first thing that hit me about it is how much it screams "70s" ... as in the 1970s. From the music to the hair styles to the clothes to the decor to the settings to the colors used, maybe even the film stock ... probably more.

If I could use a second word to describe it (without throwing out any spoilers), it would be "creepy-ish".

I didn't have any real expectations going into the movie and bought it mostly because I'm a Sissy Spacek fan. But I sure wasn't expecting this! I'm not saying I didn't enjoy it, because I did. But to me, it's the kind of film that doesn't spoon feed you into what's going on ... almost like the viewer has to draw his/her own conclusion.

I had a little trouble following Robert Altman's commentary. He covers a lot of territory, but doesn't always follow what's going on on-screen ... drifting in and out. Still, I always enjoy hearing what a director of Altman's caliber has to say.

[pro-bassoonist]

Hi Matti,

As promised earlier in this thread, the credits for La Vie de Bohème have now been included in the review.

Have a great weekend

Pro-B

[The Great Owl]

As I watched Michael Mann's 1981 neo-noir, Thief, for the first time this afternoon, I was hoping to see a shot of streetlights reflected off of a car hood during a night drive, and my hopes were fulfilled late in the film during a sequence where James Caan's character, Frank, drives his black Cadillac Eldorado through the city. This moment wonderfully precedes the most iconic scene from the 1984 series premiere of Miami Vice, where Crockett and Tubbs are on their way to a drug deal in Crockett's black Ferrari as the Phil Collins song, "In the Air Tonight", amps up the intensity. Michael Mann went above the call of duty as the executive producer of the Miami Vice television series by taking an active interest in the settings, the clothing styles, and the cinematography approach. I became addicted to that show when it premiered during my middle school years, and I quickly developed a lifelong affinity for Mann's aesthetic of visual coolness. As such, the experience of watching Thief and analyzing several prototype visual flourishes of Mann's style was a true joy. I smiled at one early sequence of James Caan reading a letter in front of a wooden fence that matches his gray suit, because it made me think of the many scenes in Miami Vice where Crockett and Tubbs stood in pastel clothes against art deco wall decorations, and I was reminded that, in Mann's cinematic world, nothing that we see on the screen is accidental. A late appearance in Thief by actor Dennis Farina, who stars as a henchman during a pivotal gunfight scene, also steered my thoughts to the Miami Vice series, since Farina appeared in a handful of episodes as the mob boss, Lombard. Finally, the icy and hypnotic Tangerine Dream score in Thief anticipates Jan Hammer's unmistakeable Miami Vice instrumentals that materialized thanks to the creative freedom afforded to him by Michael Mann.

Even if Thief had not tapped into the nerve of my Miami Vice nostalgia, the film would have mesmerized me on its own terms with its taut story of Caan's expert jewel thief, whose underlying fear of loneliness places him outside of his comfort zone into a relationship with Tuesday Weld's Jessie and an uneasy professional affiliation with an underworld mastermind played by Robert Prosky. I have always been drawn to heist films that depict the meticulous planning and execution of elaborate thefts with an aura of authenticity, so I was thrilled by the main jewelry heist in Thief that conjures comparisons with Jules Dassin's Rififi and Jean-Pierre Melville's Le Cercle Rouge, both of which rank highly on my list of favorite films. The cool stylish approaches in Thief are grounded by an uncanny sense of realism, namely during a excellent courtroom sequence where a criminal attorney and a judge engage in subtle under-the-table payoff negotiations during a public hearing, and Michael Mann's ability to blend the verisimilitude of everyday bureaucratic interactions with riveting spectacles of explosive action has no equal in modern filmmaking.

This Criterion Blu-ray of Thief is a thing of beauty, thanks to a 4K restoration that makes the neon lights of nighttime Chicago cityscapes and the fiery sparks of metal drills jump out of the screen. Thief has a natural filmic look that accentuates how this movie is just as ahead of its time now as it was 33 years ago. The fantastic audio presentation lets the music of Tangerine Dream work its magic while also directing our attention to the urgency created by sound effects during the heist sequences. A 1995 commentary track with Michael Mann and James Caan is a fun listen, even if there are several extended gaps between their observations. Present-day interviews with Michael Mann, James Caan, and Johannes Schmoelling of Tangerine Dream complete this outstanding package. This Criterion title earns an easy five stars all around.

[jw007]

Originally Posted by The Great Owl

As I watched Michael Mann's 1981 neo-noir, Thief, for the first time this afternoon, I was hoping to see a shot of streetlights reflected off of a car hood during a night drive, and my hopes were fulfilled late in the film during a sequence where James Caan's character, Frank, drives his black Cadillac Eldorado through the city. This moment wonderfully precedes the most iconic scene from the 1984 series premiere of Miami Vice, where Crockett and Tubbs are on their way to a drug deal in Crockett's black Ferrari as the Phil Collins song, "In the Air Tonight", amps up the intensity. Michael Mann went above the call of duty as the executive producer of the Miami Vice television series by taking an active interest in the settings, the clothing styles, and the cinematography approach. I became addicted to that show when it premiered during my middle school years, and I quickly developed a lifelong affinity for Mann's aesthetic of visual coolness. As such, the experience of watching Thief and analyzing several prototype visual flourishes of Mann's style was a true joy. I smiled at one early sequence of James Caan reading a letter in front of a wooden fence that matches his gray suit, because it made me think of the many scenes in Miami Vice where Crockett and Tubbs stood in pastel clothes against art deco wall decorations, and I was reminded that, in Mann's cinematic world, nothing that we see on the screen is accidental. A late appearance in Thief by actor Dennis Farina, who stars as a henchman during a pivotal gunfight scene, also steered my thoughts to the Miami Vice series, since Farina appeared in a handful of episodes as the mob boss, Lombard. Finally, the icy and hypnotic Tangerine Dream score in Thief anticipates Jan Hammer's unmistakeable Miami Vice instrumentals that materialized thanks to the creative freedom afforded to him by Michael Mann.

Even if Thief had not tapped into the nerve of my Miami Vice nostalgia, the film would have mesmerized me on its own terms with its taut story of Caan's expert jewel thief, whose underlying fear of loneliness places him outside of his comfort zone into a relationship with Tuesday Weld's Jessie and an uneasy professional affiliation with an underworld mastermind played by Robert Prosky. I have always been drawn to heist films that depict the meticulous planning and execution of elaborate thefts with an aura of authenticity, so I was thrilled by the main jewelry heist in Thief that conjures comparisons with Jules Dassin's Rififi and Jean-Pierre Melville's Le Cercle Rouge, both of which rank highly on my list of favorite films. The cool stylish approaches in Thief are grounded by an uncanny sense of realism, namely during a excellent courtroom sequence where a criminal attorney and a judge engage in subtle under-the-table payoff negotiations during a public hearing, and Michael Mann's ability to blend the verisimilitude of everyday bureaucratic interactions with riveting spectacles of explosive action has no equal in modern filmmaking.

This Criterion Blu-ray of Thief is a thing of beauty, thanks to a 4K restoration that makes the neon lights of nighttime Chicago cityscapes and the fiery sparks of metal drills jump out of the screen. Thief has a natural filmic look that accentuates how this movie is just as ahead of its time now as it was 33 years ago. The fantastic audio presentation lets the music of Tangerine Dream work its magic while also directing our attention to the urgency created by sound effects during the heist sequences. A 1995 commentary track with Michael Mann and James Caan is a fun listen, even if there are several extended gaps between their observations. Present-day interviews with Michael Mann, James Caan, and Johannes Schmoelling of Tangerine Dream complete this outstanding package. This Criterion title earns an easy five stars all around.

Fantastic review! I ended up listening to the commentary track last night and agree that there were several extended gaps in commentary which made it slightly below average in terms of an audio commentary, but I loved the newly shot interviews (fresh off the presses). Criterion did an impressive job for sure on the restoration and remastering of this film for Blu-ray. Phenomenal quality.

[polygon1371]

Originally Posted by MifuneFan

Early April fools joke?

Bit too early I'd say...

[deepbreathsanddeath]

Originally Posted by Abdrewes

Hmm. I think once you see The Driver, you'll see that it is closer to that film. Because after the credits, Drive is nothing at all like Mann's stuff.

Definitely. There are whole scenes and moments practically taken from The Driver and placed in Drive. Not to mention both leads are inspired by Jeff from Le Samourai and both are played by a blonde man named Ryan. Very similar films at times.

[The Great Owl]

Originally Posted by jw007

Fantastic review! I ended up listening to the commentary track last night and agree that there were several extended gaps in commentary which made it slightly below average in terms of an audio commentary, but I loved the newly shot interviews (fresh off the presses). Criterion did an impressive job for sure on the restoration and remastering of this film for Blu-ray. Phenomenal quality.

After I finished Thief, I wanted to start plowing through all five seasons of my Miami Vice DVDs right away.

Instead, I'm about to revisit Mann's 2006 feature film, Miami Vice. I loved this movie in the theater, but vastly preferred the Extended Cut when I saw it later on DVD. Looking forward to seeing how this comes across in high definition on the Blu-ray!

[LegacyCosts]

Originally Posted by The Great Owl

This Criterion Blu-ray of Thief is a thing of beauty, thanks to a 4K restoration that makes the neon lights of nighttime Chicago cityscapes and the fiery sparks of metal drills jump out of the screen.

Just that alone is enough to entice me, never seen the film. Sure as hell want to now.

[thebard]

Hi all. I just came across the DVD versions of Third Man (2007 release) & Play Time at a used record store & picked them up. Does anyone know if these contain the same extras as the blu-ray versions?

[dwk]

Third Man should, but is the Playtime DVD from 2001 or 2006? The 2006 has all the extras that are on the Blu-ray.

[Ausjdm]

Kinda off topic but wong kar wai has twice hit the CC scene. Just saw The Grandmaster tonight, (heads up: there's some cool usage of once upon in America music in it.) wow the guy is a real master of cinema! I haven't seen a movie of his in awhile, I truly forgot how good his work is. It also made me remember I still haven't seen 2046 because where is the damn bluray for this still?? Def go buy his two criterion blu rays if you haven't seen them!

[The Great Owl]

Originally Posted by thebard

Hi all. I just came across the DVD versions of Third Man (2007 release) & Play Time at a used record store & picked them up. Does anyone know if these contain the same extras as the blu-ray versions?

The 2007 Criterion DVD of The Third Man has the same extras as the Criterion Blu-ray.

Enjoy!

[thebard]

Originally Posted by dwk

Third Man should, but is the Playtime DVD from 2001 or 2006? The 2006 has all the extras that are on the Blu-ray.

Copyright says 2006, so I guess I'm good to go; it has artwork in the same vein as the blu-ray.

I figure I can pick up the StudioCanal Third Man and have the best of both worlds this way (without selling my car!). And the Play Time DVD can hold me over until another release comes out, hopefully.

Originally Posted by The Great Owl

The 2007 Criterion DVD of The Third Man has the same extras as the Criterion Blu-ray.

Enjoy!

Thanks! And thanks to both of you for the info.

[The Great Owl]

Following up on my above review of Michael Mann's Thief...

I just finished watching the Blu-ray of the Unrated Director's Edition of Miami Vice, and am now watching the commentary track. I had forgotten how much I used to love this film years ago. Shame on me for waiting so long to upgrade this one to Blu-ray. I am the biggest fan of the original television series that I know of, and I am of the opinion that this movie beautifully captures the spirit of the show.

Mission accomplished with the Michael Mann double-feature day.

I'd love to see Criterion release Michael Mann's Manhunter. That is still my favorite screen adaptation of a Thomas Harris novel.

[baheidstu]

Originally Posted by The Great Owl

Following up on my above review of Michael Mann's Thief...

I just finished watching the Blu-ray of the Unrated Director's Edition of Miami Vice, and am now watching the commentary track. I had forgotten how much I used to love this film years ago. Shame on me for waiting so long to upgrade this one to Blu-ray. I am the biggest fan of the original television series that I know of, and I am of the opinion that this movie beautifully captures the spirit of the show.

Mission accomplished with the Michael Mann double-feature day.

I'd love to see Criterion release Michael Mann's Manhunter. That is still my favorite screen adaptation of a Thomas Harris novel.

Sounds like you had fun with the Mann double-feature. I can't wait to dive into my copy of Thief, but I've got a few other titles I want to watch first. So, maybe next week. Been thinking of doing a double-feature of my own with Heat. I love Manhunter though. Brian Cox did an excellent job as Lector (or Lektor, or however it's spelled in that film). As a Scotsman, I've got to go with my man Cox over the Welshman Hopkins when it comes to Lector portrayals!

[Meek12345]

Originally Posted by jayembee

I haven't seen Il Sorpasso, and the clips I've seen from it make me suspect that it won't be my thing, so it'll probably be low priority for me.

Anyway, with respect to expanding your collection of Italian films, you've got two really good ones there. Fellini can be hit or miss with people. I like his films, but he's not one of my favorites. I like Antonioni better over all, but there are folks who don't go for him, either. And Vittorio De Sica is always a good bet.

Another really good film by Tornatorre (Cinema Paradiso) is Malèna. Unfortunately, it doesn't seem to be on Blu-ray...at least here in the US. I caught it on Netflix. I'd also recommend films by Silvio Soldini. All three films of his that I've seen -- Bread & Tulips, Days and Clouds, and Agata and the Storm -- have been treats.

Thanks for the Italian film recommendations jayembee! I like Fellini, Antonioni, and De Sica. However, I haven't felt the urge to purchase the films I have seen by them (La Strada, Nights of Cabiria, Juliet of the Spirits, L'avventura, L'eclisse, The Children are Watching Us, Umberto D., Bicycle Thieves). I'm on the fence about Bicycle Thieves, but I would probably go for a blu-ray upgrade by Criterion. I also admire the Rossellini's films I have seen so far (War Trilogy, Europa '51), but they don't have replay value for me.

By the way, has anyone seen a film by Pietro Germi? Divorce Italian Style and Seduced and Abandoned are two titles I have been wondering about. Il Sorpasso is up on youtube without subtitles, but I will try to watch it to test my Italian language skills. Master of the House is also on my youtube watchlist along with Persona. I'm hoping that I will be able to watch a few titles before they are released in the upcoming months.

Also, what do you all think of the Criterion "suggestion box"? I have emailed quite a few title suggestions, such as Manhunter, to suggestions@criterion.com, but I wonder if it makes any difference. I have only been an avid Criterion collector for about 3 years, so maybe someone that has been around longer can give me their perspective on whether or not Criterion takes our suggestions seriously.

[pro-bassoonist]

Originally Posted by Meek12345

By the way, has anyone seen a film by Pietro Germi? Divorce Italian Style and Seduced and Abandoned are two titles I have been wondering about.

The Master!

One of the greatest Italian directors. Excluding two elusive films, I have his entire body of work. Below are the English-friendly ones you might be interested in. Still not on Blu-ray.

Alida Chelli - Sinnò me moro - YouTube

Pro-B

[jayembee]

Originally Posted by dwk

Third Man should, but is the Playtime DVD from 2001 or 2006? The 2006 has all the extras that are on the Blu-ray.

Originally Posted by thebard

Copyright says 2006, so I guess I'm good to go; it has artwork in the same vein as the blu-ray.

Good. I was about to say that with the original (2001) release of Playtime, there was supposedly a glitch in the anamorphic encoding. They did a second printing (so stated on the bottom of the back cover) that corrected the problem. I have the corrected copy, so I'm not exactly sure what the glitch involved.