The Criterion Collection

[kuro_sawa]

Originally Posted by jw007

...is this cause for suspension? Are you the forum police? Are you planning on incriminating me for my bad behavior of posting in the wrong threads?

I'll try to be less "interesting" next time.

I've been suspended on here for less

Watched L'avventura this morning (started it while I was having a coffee and just didn't stop, 3 coffees and some cigarettes later I was on that bench with them at the end). Not my first time seeing this film but I still find it so engaging as if it were. I know many people think Antonioni hard to get into but once I get locked into one of his films it's like I'm in them. There is a whole way the charcters story and evertything operate that once you figure that out, people walking around a room staring at each other actually can become an exicting mystery or completely interesting. 5 star release from criterion as well. I'm glad they put all 3 of these 'trilogy' out in a decently short time frame.

[oildude]

Originally Posted by Cat III

I think you're overreacting to what oildude said. I inferred simple curiosity not antagonism, but I'll let oildude attest to his intentions.

It was curiosity. I just wondered why he has started posting thoughts about random films not in the Criterion collection or even peripherally related. I think of posts as stimulating conversations, so what is the purpose. I found that last one interesting, but it reads to me like an attempt to generate discussion about recycled Star Trek-themed films here in the Criterion thread. I guess I should have expected the Jeffrey Goines response.

[jayembee]

Originally Posted by hoytereden

They're a great deal of fun! My personal favorites are the ones from Mascot Studios made in the early 30's. The Phantom Empire [snip]

"Take that surface man Autry to the Lightning Room!"

[jayembee]

Originally Posted by Cat III

In fairness to America, part of the reason Hollywood blockbusters have been dumbed down is because of the international market. I'm sure snobbish types like to think it comes down to America's crass, consumer culture, but these movies are mega-popular overseas. Keeping dialogue simple and focusing on action makes it easier to translate and widens the appeal to audiences the world over.

Just yesterday, a nephew of mine said, in reference to the bewildering box-office success of the Transformers movies, "It's nice to know that the Chinese are even dumber than we are."

[hoytereden]

Originally Posted by jayembee

"Take that surface man Autry to the Lightning Room!"

Great stuff! I love how in the middle of an impossible situation the primary concern becomes getting back to Radio Ranch so Gene can make his radio broadcast!....... and the robots with the cowboy hats.

[lordmorpheus72]

Originally Posted by jayembee

Generally, when someone has an agenda to present, they might refer only to the best examples of what they think is good, while referring only to the worst examples of what they think is bad. It's far too easy to dismiss television by pointing to the bad shows, while saying that film produces some great art by citing some of the finest examples from the world of cinema. The truth is that there are a lot of TV shows that are far, far better works of art than a lot of movies.

If I had to make a "desert island" selection, the very first thing that would go on it is the five seasons of The Wire. I wouldn't even hesitate.

There are some amazing works on television now, and in the last few years, and you hit it right on the head... people always pick the worst when they want to make a point.

Television has gotten so good, that it is blurring the line between film and tv, and film actors, who at one point would have never even thought about being on tv, are fighting for good tv roles. Shows like The Wire, Sopranos, Newsroom, Breaking Bad, Walking Dead, and so many others are really doing their best to bring good content back to television.

And my desert island starts with Arrested Development...

[Clare2904]

I have just finished Certified Copy, not the Criterion but the library copy. Indifferent is the best word to describe what I am thinking right now. Didn't love it, didn't hate it.

[lordmorpheus72]

Originally Posted by Cat III

I'd recommend watching more Korean films in general. Right now that's where the most interesting things in cinema are happening. Trust me on this, I'm not some weeaboo (or whatever the Korean equivalent is called). Just look at how Hollywood has been courting the big names (Park Chan-wook, Bong Joon-ho, Kim Jee-woon) into make English titles. Oldboy is a good start, but there's a vast ocean to explore beyond.

I thought Sunny was available through Netflix, but apparently not. Perhaps in the future. There's still plenty of titles they do carry. (Let me know if you're ever looking for recommendations.)

I'll put that on my list and let you know if I need more. Appreciate the suggestion! Always up for new genres.

[CHEЯNOБLY!]

Originally Posted by Cat III

In fairness to America, part of the reason Hollywood blockbusters have been dumbed down is because of the international market. I'm sure snobbish types like to think it comes down to America's crass, consumer culture, but these movies are mega-popular overseas. Keeping dialogue simple and focusing on action makes it easier to translate and widens the appeal to audiences the world over.

I've been saying the same thing for quite some time. I then laugh when people from outside of the US snark attack Hollywood...wait, you are part of the reason why they are dumbed down and generic, LOL.

[ShellOilJunior]

I haven't even voted yet in my own poll. I'm working my way through the treasure that is the Tati set. Picking the best 3 releases of 2014 is very difficult. It's been a terrific year for landmark films.

[The Great Owl]

It's been a while since I wrote an actual review...



The title of Michelangelo Antonioni's 1960 film, L'Avventura (The Adventure), could refer to the yacht cruise where a young woman, Anna (Lea Massari), goes missing, it could refer to a fling between Anna's lover, Sandro (Gabriele Ferzetti), and her best friend, Claudia (Monica Vitti), that begins as they search for her, or it could refer to Claudia's personal transformation from shyness to assertiveness over the course of the story. Nothing here feels particularly adventurous at first glance, though. The mystery involving Anna's disappearance might have provided the fuel to drive another movie from beginning to end, but this film simply dismisses this plot element and focuses its attention elsewhere.

In present day terms, watching L'Avventura is almost like starting an engaging conversation with a friend at lunch, only to have the conversation interrupted when the friend answers his iPhone and ignores you in favor of texting someone else. Characters in this film are constantly distracted from one another, characters glance away from each other while talking, and characters turn their heads away when others attempt to kiss them. In this story, unanswered questions do not represent a failure of the filmmakers to fulfill our need for closure. Instead, the lack of fulfillment is the story in and of itself. The possession of wealth and the access to diversions can lead to constant distraction and detachment. L'Avventura purposely distracts the viewer in turn, by way of interactions that are seemingly unrelated to the narrative and a variety of "found objects" on the screen that come between us and the characters. Antonioni might not have attended a party where guests were constantly checking Facebook on their phones instead of interacting with one another, but his examination of affluence in postwar Italy applies just as well to present-day society.

One would imagine that such a cinematic endeavor would be a frustrating experience, but the greatness of L'Avventura is that it uses settings, backgrounds, and framing to convey the predicaments of the characters. As their amorous feelings for each other gain momentum, Sandro and Claudia are literally located on high ground, via island cliffs, church temples, and such. As they struggle to relate to one another, they are literally separated by jagged rocks, ropes, or architectural marvels behind them. After a sudden first kiss, the camera itself moves with the waves beneath a boat as if to illustrate shaky emotions. One of my favorite sequences in cinema, where Claudia opens the door of an island hut to reveal a beautiful sunrise, invites us to appreciate the beauty without allowing us to linger. Late in the film, a beautiful love scene featuring extreme closeups of the characters captures the joy of intimacy, but also keeps us at a distance by showing the back of the characters' heads during the kisses as much as it shows their faces. Our minds may not always follow the dialogue, but our eyes are shown everything that we need to know. L'Avventura is one of the most visually intuitive films in the world of cinema, in the same way that the touchpad of a smartphone is intuitive enough to divert our focus from our surroundings.

This Criterion Blu-ray sports one of the most beautiful transfers of a black-and-white film that I have seen in the Collection. The detail shines across the board, from the sight of waves crashing on a rocky shore to Monica Vitti's shoulder blade at the bottom of a deliberately skewed camera view to the images of distant mountains or volcanoes in the background of scenes. The characters may be emotionally remote, but their physical beauty is brought to the forefront in high definition. Antonioni does not utilize music in any overt way to supplement the narrative, but what is there sounds perfect to my ears, and the conversations come across crystal clear. A great commentary track by Gene Youngblood is helpful to guide newcomers across this movie's gorgeous but sometimes perplexing landscapes. A handful of documentaries and critical essays provide some insight into Antonioni's mindset during the writing and filmmaking processes.

L'Avventura is one of the better Blu-ray releases of the year. The film itself is a wonder that works best if you simply let the images wash over you to convey the narrative on conscious and subconscious levels.

[jw007]

Originally Posted by Helikaon

I don't mind. I think of this thread more as a community than a strict "Criterion only" discussion. We always eventually end up talking about the big C, anyhow.

True. One person cannot derail something that has been built up for over half a decade on this thread. It is proof that this is not an insecure thread by any means, and we can confidently take pride in our collective sharing of Criterion-related feelings and opinions as well as various other films not in the collection.

Originally Posted by kuro_sawa

I've been suspended on here for less

Oh, the horror! I'm glad the first amendment still applies somewhat here though (until North Korea somehow takes over the world and outlaws the freedom of speech and freedom of disorganization in online forum threads)

Originally Posted by oildude

It was curiosity. I just wondered why he has started posting thoughts about random films not in the Criterion collection or even peripherally related. I think of posts as stimulating conversations, so what is the purpose. I found that last one interesting, but it reads to me like an attempt to generate discussion about recycled Star Trek-themed films here in the Criterion thread. I guess I should have expected the Jeffrey Goines response.

Jeffrey Goines isn't here. Last time I checked, he was still embedded as data in my blu-ray disc of 12 Monkeys that's sitting on the 1st shelf of my blu-ray cabinet.

[ShellOilJunior]

L'avventura:

[Show spoiler]The ending: No words but we know exactly what Claudia is feeling. She feels sorry for Sandro. She's feels like a mother to a child. Great scene!

[WonderWeasel]

Originally Posted by Cat III

Then there's Asia. Japan didn't stop making great movies when Kurosawa and Ozu died. Wade through some junk and you can even find jewels in the hermetic world of anime. South Korea has recently shown itself to be the go-to country for slick, modern films that are also intelligent and artistic.

I know he can be polarizing, but I have liked all of Kim Ki-duk's films that I've seen. '3-Iron' and 'Spring, Summer, Winter, Fall... and Spring' were both beautifully shot with engaging stories, and I love his minimalist approach to dialogue.

[SlickDamian]

Originally Posted by mrjohnnyb

I think that I would go with Francis Ford Coppola's The Godfather, The Conversation, and The Godfather Part Two plus you could follow that up with Apocalypse Now.

We have a winner. The Conversation, Godfather Part 2, and Apocalypse Now also wins.

[SlickDamian]

Originally Posted by Helikaon

I don't mind. I think of this thread more as a community than a strict "Criterion only" discussion. We always eventually end up talking about the big C, anyhow.

Exactly.

[schan1269]

Originally Posted by WonderWeasel

I know he can be polarizing, but I have liked all of Kim Ki-duk's films that I've seen. '3-Iron' and 'Spring, Summer, Winter, Fall... and Spring' were both beautifully shot with engaging stories, and I love his minimalist approach to dialogue.

Both movies...excellent. Both deserve a Blu...

[jayembee]

Originally Posted by SlickDamian

We have a winner. The Conversation, Godfather Part 2, and Apocalypse Now also wins.

We had a similar conversation here about a year ago. Your string above was suggested by Illy Scorsese.

My contribution was the 6-film streak:

A Short Film About Killing
A Short Film About Love
The Double Life of Veronique
Blue
White
Red

[Cat III]

Originally Posted by jayembee

Just yesterday, a nephew of mine said, in reference to the bewildering box-office success of the Transformers movies, "It's nice to know that the Chinese are even dumber than we are."

I'd settle for "as dumb as we are". Considering that everyone says China is scheduled to be the world's reigning superpower we should refrain from insulting our soon-to-be overlords.

Originally Posted by lordmorpheus72

[Show spoiler]There are some amazing works on television now, and in the last few years, and you hit it right on the head... people always pick the worst when they want to make a point.

Television has gotten so good, that it is blurring the line between film and tv, and film actors, who at one point would have never even thought about being on tv, are fighting for good tv roles. Shows like The Wire, Sopranos, Newsroom, Breaking Bad, Walking Dead, and so many others are really doing their best to bring good content back to television.

And my desert island starts with Arrested Development...

I agree with your broader point about the quality of television and especially with your bringing up of Arrested Development. In critical discussions comedy has a tendency to be overlooked on the little screen as well as the big. I'd also throw out the names of 30 Rock, The Office (Seasons 1-3), Parks and Recreation, and The Simpsons (Seasons 2-8) as being just as artistically valid as anything released by Criterion.

Originally Posted by WonderWeasel

I know he can be polarizing, but I have liked all of Kim Ki-duk's films that I've seen. '3-Iron' and 'Spring, Summer, Winter, Fall... and Spring' were both beautifully shot with engaging stories, and I love his minimalist approach to dialogue.

Ki-duk's films have long had my interest. Of the new wave of Korean cinema he is the most distinct, the most typically "arthouse". Yet he still fits in with his peers by having crime and criminality play prominently in many of his stories as well as a tendency toward extreme violence and sadism. Up until a few nights ago I'd only seen The Isle. Roger Ebert had given the movie a glowing review, but I admit I didn't understand it. Just this Friday night I saw Moebius which I took to much better. I'll reprint what I wrote about it in another thread:

Well, Christ, Korea. Just when I thought I'd seen it all. For those with the fortitude to watch this kind of thing, I definitely recommend it. It is not boring, that I can assure you. I'm still digesting it. Is it a horror film? A comedy? What exactly is director Kim Ki-duk trying to do? I think it's about our relationship with out own bodies. How our identity, call it the mind if you will, can't be separated from our physical form. It's a harrowing gut-punch of a film. I'm not sure if it's a masterpiece or a strange exercise in style, but I've seen it and of that I'm glad.

(I'll write a long-form review one of these days.) I look forward to seeing more of Ki-duk's oeuvre. His insistence in flouting convention and subverting expectations makes his work intriguing even if I don't end up enjoying it.

[pedromvu]

Originally Posted by jayembee

My contribution was the 6-film streak:

A Short Film About Killing
A Short Film About Love
The Double Life of Veronique
Blue
White
Red

This might be a stretch since i haven't seen all of them, but it seems the ones i haven't seen are well regarded:

The Life and Death of Colonel Blimp
A Canterbury Tale
I Know Where I am Going
A Matter of Life and Death
Black Narcissus
The Red Shoes

Six films in 6 years

There is also

A Fistful of Dollras
For a Few Dollars More
The Good, The Bad and the Ugly
Once Upon a Time in the West
A Fistful of Dynamite
Once Upon a Time in America

Which is crazy since it is almost all of Leone Filmography, excluding one film and others where he was uncredited.

Also i doubt anyone can beat Luis Bunuel and his later period from Viridiana onwards, i mean there is a reason why criterion had almost all of them, too bad they have the rights to only a very small group now, even in the early Mexican period i don't think he made a bad film.