The Criterion Collection

[malakaheso]

Tajsam: The whole 'nobody understood Kubrick's films at the time of release' is getting a bit old now. There is no doubt that this mythology has led to an upward revision of all of his post-2001 films. Nobody called Full Metal Jacket a classic in the 80s yet it wasn't misunderstood. After his death though things changed. The Shining was in the same boat.

Maybe dim witted critics misunderstood Kubrick, but Kubrick was nowhere as ambiguous as other film makers that made a big name for themselves in the 60s and the 70s. The way his fanboys talk you'd think his rather simple Hobbesian view of the world is the most complex thing to understand.

He was a great film artist no doubt, but he wasn't the towering intellectual giant that some (mostly Anglophone) cinephiles make him out to be.

[malakaheso]

Originally Posted by ThisKid

I will mention it here.

I don't like The Karate Kid.

I find it mediocre.

I actually like the remake with Jayden Smith.

Not perfect, but still something actually quite good.

The 80's kid in me wants to kill you, but the adult doesn't care.

The remake is ass cheeks though.

[Dragon Ranger]

This has probably already been posted but I am so excited about this and don't care how much they will cost. They will be mine!

http://www.godzilla-movies.com/news/...lms-dvdblu-ray

[mja345]

I'll bet Ralph Macchio was pissed that they had a 10 year old kid (or whatever age Jaden Smith was at the time) play a version of his character in the remake. Jaden Smith looked like some kid who goes out and waits under the Christmas tree for Santa Claus while Macchio was in his mid-twenties in "The Karate Kid". An underrated part of "The Karate Kid" trilogy is that Macchio was closing in on 30 when he did "Karate Kid Part 3". Can you imagine being a 30 year old dude, which is how old I am right now, and playing Daniel F**kin' Larusso for the third go round? A paycheck's a paycheck though.

[CinemaScope]

Originally Posted by hoytereden

Sorry to rile you up but some of the comic sequences with the speeded up harpsichord music automatically makes me think of those old Benny Hill closing skits. I happen to like Tom Jones (and Benny Hill!)

Na, not riled. Apparently the speeded up sequence at the start (Tom's birth) was an afterthought, what they'd done wasn't quite working. I love John Addison's music & have it on CD, I think (I don't know) that it's supposed to sound like a small band at an inn, harpsichord, slightly out of tune piano, squeeze box & some brass.

[malakaheso]

Originally Posted by mja345

I'll bet Ralph Macchio was pissed that they had a 10 year old kid (or whatever age Jaden Smith was at the time) play a version of his character in the remake. Jaden Smith looked like some kid who goes out and waits under the Christmas tree for Santa Claus while Macchio was in his mid-twenties in "The Karate Kid". An underrated part of "The Karate Kid" trilogy is that Macchio was closing in on 30 when he did "Karate Kid Part 3". Can you imagine being a 30 year old dude, which is how old I am right now, and playing Daniel F**kin' Larusso for the third go round? A paycheck's a paycheck though.

Macchio always looked younger than his age. He doesn't look his age now. His wife does though.

Thread officially derailed.

[ravenus]

Originally Posted by Reddington

For anyone interested who is region-free, I can heartily recommend the Studio Canal BD release of Carol Reed's The Man Between.
...

Such a good film, and one that would be right at home in the Criterion Collection.

As a footnote, I also watched Night Train to Munich and Odd Man Out in a sort of Carol Reed mini-marathon. Also hugely enjoyable films. Just one of my absolute favourite directors.

Personally I found it decent but a good few notches below The Third Man (and I'm a James Mason fan), hoping Odd Man Out turns out better (got it on the UK BD). I didn't care too much for Night Train to Munich either. Rex Harrison is too much of a smarmy git for me to root for his character, and as a spiritiual sequel to The Lady Vanishes, pfft. I did quite like this Polish Film called Night Train, which I assume was made as a kind of homage to these films, but with a more observational character.

[TajSamKojiJesam]

Originally Posted by malakaheso

Maybe dim witted critics misunderstood Kubrick, but Kubrick was nowhere as ambiguous as other film makers that made a big name for themselves in the 60s and the 70s. The way his fanboys talk you'd think his rather simple Hobbesian view of the world is the most complex thing to understand.

It's irrelevant whether his movies are the most complex thing ever or not, what matters is that Barry Lyndon was misunderstood at the time, and this is undeniable. I mentioned Kael's review because it's the most representative of the common complaints about the film, which really do miss the point. She criticizes it for being overly controlled and suppressed, for not being as quick-witted and exciting as the novel, even for the narrator telling the audience what's going to happen in advance. She seems more focused on what she wanted the movie to be like, rather than considering what Kubrick actually wanted to convey with the narration, the crushing stiltedness and the almost robotic performances. Is Kubrick as ambiguous as fanboys make him out to be? Probably not, but Barry Lyndon is still a textbook example of a misunderstood movie.

It's also unfair to simplify Barry Lyndon as a simple Hobbesian movie. While it does have some Hobbesian views, it's more reminding of Schopenhauer than Hobbes.

[malakaheso]

Originally Posted by TajSamKojiJesam

lIt's also unfair to simplify Barry Lyndon as a simple Hobbesian movie. While it does have some Hobbesian views, it's more reminding of Schopenhauer than Hobbes.

They aren't as mutually exclusive as you are implying here. Their views can be reconciled to a large degree.

I just scanned through that first piece. It is nothing I didn't already guess myself (i wrote something on here about the use of static imagery to relay a worldview a few weeks ago), but there were some interesting quotes.

You are correct that one needs to consider the film maker's intentions, but perhaps being unfamiliar with the source material might be an advantage in the case of Barry Lyndon.

Thanks. Barry Lyndon is my second favourite Kubrick.

[MeMynonsense]

Originally Posted by Reddington

For anyone interested who is region-free, I can heartily recommend the Studio Canal BD release of Carol Reed's The Man Between.

It's often referred to as a companion piece to The Third Man, given the post-war setting (Berlin this time), and a shadowy protagonist profiteering from the aftermath of the conflict. I've also seen it referred to as a sort of poor relation to its illustrious predecessor, which I think does it a great disservice. Reed's direction is equally assured, and the B&W cinematography is similarly evocative - with some excellent location work in Berlin, and many superb shots featuring noir-ish lighting and camera angles. While not as unique and memorable as Anton Karas' score for The Third Man, John Addison's soundtrack is extremely good, and complements the mood and tempo of the film perfectly (Addison is perhaps best-known for replacing Bernard Herrmann on Hitchcock's Torn Curtain, after a disagreement between the two titans brought about the dissolution of their long and successful partnership).

The acting is uniformly excellent: James Mason is as commanding and effortless as usual, ably supported by Claire Bloom and the (gorgeous) Hildegard Knef.

Such a good film, and one that would be right at home in the Criterion Collection.

As a footnote, I also watched Night Train to Munich and Odd Man Out in a sort of Carol Reed mini-marathon. Also hugely enjoyable films. Just one of my absolute favourite directors.

Originally Posted by ravenus

Personally I found it decent but a good few notches below The Third Man (and I'm a James Mason fan), hoping Odd Man Out turns out better (got it on the UK BD). I didn't care too much for Night Train to Munich either. Rex Harrison is too much of a smarmy git for me to root for his character, and as a spiritiual sequel to The Lady Vanishes, pfft. I did quite like this Polish Film called Night Train, which I assume was made as a kind of homage to these films, but with a more observational character.

Couldn't help myself! Both of you MUST also check out Joe Mankiewicz's 5 Fingers.

It's a suspense thriller set in Turkey with a noirish WW2 backdrop, starring James Mason (in one of his best and most enigmatic performances) as an opportunist valet involved in government espionage. Filled with crackling one-liners, unpredictable twists and a pulsating Bernard Herrmann score, it makes for an utterly compelling spy picture and ranks amongst Mankiewicz's very best efforts along the likes of Sleuth & All About Eve.
While it's kinda unfair on any film to be held to The Third Man's standards, I think 5 Fingers comfortably eclipses The Man Between, Night Train to Munich & Our Man Havana and is at least on par with Odd Man Out.
An HD upgrade doesn't really seem on the horizon, but that shouldn't deter anyone in checking this neglected gem out.

[Scottie]

I watched The Passion of Joan of Arc last night.

There was something about the film I couldn't connect with. Perhaps I got lost in the sea of faces attempting to break Joan of Arc after awhile. Maybe it was Dreyer's style, consisting of numerous close-ups and lots of white, empty spaces. Maybe it was the structure of the film, which often makes it appear as if there are longer lapses in time than there really are (perhaps as an opportunity to get inside of Joan's mind). Maybe it was the subject matter (Joan is a very interesting figure, but this, for the most part, is not the most uplifting of films). I'm really not sure.

Regardless, the film undoubtedly contains one of the greatest performances of all-time. You don't need words to understand what she was going through - the look on her face said it all. I really loved the score, as well. Very haunting yet peaceful at the same time.

[SammyJankis]

Originally Posted by iScottie

I watched The Passion of Joan of Arc last night.

There was something about the film I couldn't connect with. Perhaps I was merely lost in the sea of faces attempting to break Joan of Arc. Maybe it was Dreyer's style, consisting of numerous close-ups and empty spaces. Maybe it was the structure, which often made it appear like there was long pauses in between (perhaps as an opportunity to get into Joan's mind).

Regardless of this, the film undoubtedly contains one of the greatest performances of all-time. You don't need words to understand what she was going through - the look on her face said it all. I really loved the score, as well. Very haunting yet peaceful.

I saw this film on 16mm a few years ago without a score at all. Needless to say, anyone that shifted in their seat or hiccuped (as one person did halfway through) could be heard.

It was just as powerful as with any score I've seen attached to it (one of them being live.) It's the kind of film that I have a hard time assessing because it works uncomfortably well with what it sets out to do. And Falconetti cannot be understated.

[Al_The_Strange]

Originally Posted by iScottie

I watched The Passion of Joan of Arc last night.

There was something about the film I couldn't connect with. Perhaps I got lost in the sea of faces attempting to break Joan of Arc after awhile. Maybe it was Dreyer's style, consisting of numerous close-ups and lots of white, empty spaces. Maybe it was the structure of the film, which often makes it appear as if there are longer lapses in time than there really are (perhaps as an opportunity to get inside of Joan's mind). Maybe it was the subject matter (Joan is a very interesting figure, but this, for the most part, is not the most uplifting of films). I'm really not sure.

Regardless, the film undoubtedly contains one of the greatest performances of all-time. You don't need words to understand what she was going through - the look on her face said it all. I really loved the score, as well. Very haunting yet peaceful at the same time.

Originally Posted by SammyJankis

I saw this film on 16mm a few years ago without a score at all. Needless to say, anyone that shifted in their seat or hiccuped (as one person did halfway through) could be heard.

It was just as powerful as with any score I've seen attached to it (one of them being live.) It's the kind of film that I have a hard time assessing because it works uncomfortably well with what it sets out to do. And Falconetti cannot be understated.

My first-time viewing of this was probably earlier this year. I can see how one could get bored or disinterested quickly, since so much of the film focuses on Joan's face and nothing much else happens. For me though, the film won me over right away with its composition, lighting, style...just like most other classics I enjoy. I found it hypnotic.

A second viewing cemented this as a new personal favorite--I still found it mesmerizing and it managed to make me think a lot about issues like faith and suffering. Looking at the film as a whole, I came to realize it's more like the cinematic equivalent of a bust or portrait.

[malakaheso]

Dreyer generally makes me feel less positive about contemporary directors whenever I watch his classics.

[belcherman]

Originally Posted by Reddington

As a footnote, I also watched Night Train to Munich and Odd Man Out in a sort of Carol Reed mini-marathon. Also hugely enjoyable films. Just one of my absolute favourite directors.

I really liked Odd Man Out and thought that James Mason was great in it. I should probably pick up Night Train to Munich, too, but I've been personally boycotting the Criterion release. I'm irked that they charged full price for a budget release (the only extra is an archival talking heads interview). Would love to see this picked up in other markets.

[Reddington]

Originally Posted by ravenus

Personally I found it decent but a good few notches below The Third Man (and I'm a James Mason fan), hoping Odd Man Out turns out better (got it on the UK BD). I didn't care too much for Night Train to Munich either. Rex Harrison is too much of a smarmy git for me to root for his character, and as a spiritiual sequel to The Lady Vanishes, pfft. I did quite like this Polish Film called Night Train, which I assume was made as a kind of homage to these films, but with a more observational character.

Well of course the stars aligned for The Third Man, resulting in one of the greatest films ever made. But I think The Man Between is easily good enough to keep it company. Certainly makes for a good double-bill.

Rex Harrison a smarmy git? I haven't heard that phrase since I moved to the US.

Night Train to Munich is also a film often (unfairly?) compared to a more successful predecessor. I think one has to approach it on its own terms: Part drama, part comedy, part propaganda, with a hint of farce thrown in for good measure.

Hope you enjoy Odd Man Out.

Originally Posted by MeMynonsense

Couldn't help myself! Both of you MUST also check out Joe Mankiewicz's 5 Fingers.

It's a suspense thriller set in Turkey with a noirish WW2 backdrop, starring James Mason (in one of his best and most enigmatic performances) as an opportunist valet involved in government espionage. Filled with crackling one-liners, unpredictable twists and a pulsating Bernard Herrmann score, it makes for an utterly compelling spy picture and ranks amongst Mankiewicz's very best efforts along the likes of Sleuth & All About Eve.
While it's kinda unfair on any film to be held to The Third Man's standards, I think 5 Fingers comfortably eclipses The Man Between, Night Train to Munich & Our Man Havana and is at least on par with Odd Man Out.
An HD upgrade doesn't really seem on the horizon, but that shouldn't deter anyone in checking this neglected gem out.

Thanks. Not seen it, so I'll pick up a copy of the DVD.

As a side note, Our Man in Havana is one of my favourite films. The Twilight Time BD is superb.

Originally Posted by belcherman

I really liked Odd Man Out and thought that James Mason was great in it. I should probably pick up Night Train to Munich, too, but I've been personally boycotting the Criterion release. I'm irked that they charged full price for a budget release (the only extra is an archival talking heads interview). Would love to see this picked up in other markets.

With the B&N sale in full force, now would be a great time to get it.

[bwdowiak]

I might have shared this little anecdote before, so I apologize in advance...

We had someone in our neighborhood when I was a little kid whose last name was Falconetti. My dad used to work in our garage a lot, fixing up old cars in the summer... like really old cars. He took a '57 Chevy from the scrap heaps and restored the thing to mint condition. Anyway, I'd hear my dad and his buddies referring to this guy Falconetti who drove some kind of old Chevelle or Nova or some kind of car like that. So when I'd hear them say his name, I was sure they were saying "Falcon Eddie," which for a gear-head in the 1980's... I thought that was pretty bad ass.

It was only a little while ago, that I realized his name was Falconetti.

That's all.

[Akijama]

Warner have discontinued A Clockwork Orange and Papillon. A potentially Criterion related news.

[TajSamKojiJesam]

Originally Posted by iScottie

Regardless, the film undoubtedly contains one of the greatest performances of all-time. You don't need words to understand what she was going through - the look on her face said it all. I really loved the score, as well. Very haunting yet peaceful at the same time.

Yeah, Maria Falconetti is amazing. I think this might be my favorite movie from the silent era. It's just so intense, uniquely shot and hard-hitting.

[Scottie]

Originally Posted by Akijama

Warner have discontinued A Clockwork Orange and Papillon. A potentially Criterion related news.

Rewatched it for the third time earlier this week and have officially been converted into a fan.