Certified Copy – The Criterion Collection #612 (a J!-ENT Blu-ray Disc Review)

If you are a cineaste who enjoys films that incorporate intelligent conversation, you will be captivated by “Certified Copy”.   A film that showcases Abbas Kiarostami’s beautiful direction and fascinating screenplay, plus fantastic performance by Juliette Binoche and William Shimell… “Certified Copy” is highly recommended!

Image courtesy of © MK2-Bibi Films – France 3 Cinema – Artemis Productions. The Criterion Collection. All Rights Reserved.

TITLE: Certified Copy – The Criterion Collection #612 (Copie Conforme)

MOVIE RELEASE: 2010

DURATION: 106 Minutes

DVD INFORMATION: Color, 1:85:1 Aspect Ratio, 5.1 Surround in English, French and Italian with English Subtitles

COMPANY: Sundance Selects/The Criterion Collection

RELEASE DATE: May 22, 2012

Directed and Written by Abbas Kiarostami

Produced by Angelo Barbagallo, Charles Gillibert, Marin Karmitz, Nathanael Karmitz, Abbas Kiarostami

Executive PRoducer: Clair Dornoy, Marin Karmitz

Line Producer: Gaetano Daniele

Cinematography by Luca Bigazzi

Edited by Bahman Kiarostami

Production Design by Giancarlo Basili, Ludovica Ferrario

Starring:

Juliette Binoche as Elle

William Shimell as James Miller

Adrian Moore as Le Fils

Jean-Claude Carriere as L’homme de la place

Agathe Natanson as La femme de la place

Gianna Giachetti as a patronne du cafe

Angelo Barbagallo as Le traducteur

Andre Laurenzi as Le guide

Filippo Trojano as Le marie

The great Iranian director Abbas Kiarostami travels to Tuscany for a luminous and provocative romance in which nothing is as it appears. What seems at first to be a straightforward tale of two people—played by Oscar-winning actress Juliette Binoche and opera singer William Shimell—getting to know each other over the course of an afternoon gradually reveals itself as something richer, stranger, and trickier: a mind-bending reflection on authenticity, in art as well as in relationships. Both cerebrally and emotionally engaging, Certified Copy reminds us that love itself is an enigma.

The multi-talented filmmaker Abbas Kiarostami is known for his films, documentaries, poetry, paintings and graphic designs.  Considered as one of the most influential filmmakers to come from the Middle East and known for his films such as the “Koker Trilogy”, “Taste of Cherry”, “The Wind Will Carry Us” and “Close Up”, in 2010, Kiarostami would reunite with his “Shirin” actress, Juliette Binoche for the film “Certified Copy” (Copie Conforme).

Written and directed by Abbas Kiarostami and shot in Tuscany, “Certified Copy” would feature Juliette Binoche (“Thee Colors: Blue”, “The English Patient”, “Cache”) and opera singer William Shimell (“Hercules”, “Love”).  The film would be Kiarostami’s first film shot and produced outside of Iran, it would also be the first film of Kiarostami in creating European cinema.  And sure enough, the film would receive rave reviews from critics and audiences worldwide and the film would also earn Juliette Binoche the “Best Actress Award” at the Cannes Film Festival.

And now “Certified Copy” will be released on Blu-ray and DVD courtesy of the Criterion Collection.  Also, included with this release is Abbas Kiarostami’s first feature film, “The Report” (1977).

“Certified Copy” begins with people who have attended a lecture and are anxiously waiting for British writer and art historian, James Miller (played by William Shimell), to talk about his new book “Certified Copy”.  The book argues that authenticity is irrelevant and that reproduction is original, as the original is a copy of another form.

Among those attending the lecture is a French antique dealer (played by Juliette Binoche), a woman who is awaiting to get her book signed by Miller.  But because her 11-year-old son (played by Adrian Moore) is getting a bit antsy and is very hungry, she has to leave not long after the lecture has begun.   Not wanting to miss the opportunity to get an autograph from James Miller, the antique dealer (without a name) leaves her phone number with Miller’s translator in hopes that he can sign her books.

The following day, James Miller arrives at the French antique dealer’s shop and while he compliments her choices of art, she tells him they are only reproductions and it begins their conversation about original art vs. reproductions and in the process, because the dealer has issues with his book “Certified Copy”, she wants to take him out to the countryside and let him see things with his own eyes.

While James signs the books, the dealer talks about the issues she has with the books and then they end up discussing situations about her rebellious son, more about reproductions and sooner or later, these two get into a conversation that tests both of their patience.

As they go into a cafe, a woman who runs the cafe, thinks that the two are a couple and the next thing you know, the two begin to pretend as if they are a married couple.

But the conversations change as if they are or were a real life couple who have been married for 15-years and both get into an argument as if they were a real couple.   Do these two know each other?  Are they a real couple?  Are they acting out their own relationships towards each other.  Or is this a dream? Or is it reality?

VIDEO:

“Certified Copy” is presented in 1080p High Definition (1:85:1 aspect ratio) and there is no doubt that Kiarostami’s use of the Red digital camera brought a lot of detail to his latest film.   The colors are vibrant, detail and clarity look magnificent and  I detected no video-related problems, no artifacts, banding, edge enhancement…nothing.  “Certified Copy” looks absolutely magnificent on Blu-ray!

According to the Criterion Collection, the film was shot in 4K RAW using a RED digital camera and the entire production was completed in a fully digital workflow.  The color grading and digital interpositive were approved by director Abbas Kiarostami and director of photography Luca Bigazzi.  The final color corrected DPX files were output to Rec. 709 high-definition color space for BD and DVD release.

As for “The Report”, the Criterion Collection presents the 1977 film in the best quality available to them.  While the film looks good for its age.  While there is some film damage with occasional green lines that can be seen and some other damage.  But most visible towards the beginning of the film.

AUDIO & SUBTITLES:

“Certified Copy” is presented in English, French and Italian DTS-HD Master Audio 5.1 (note: one audio track, with all three languages used in the film).  Dialogue is crystal clear and the film features good use of atmospheric ambiance.  From the sounds of Tuscany, the birds and vehicles and more.  The lossless track is primarily dialogue-driven through the front and center channels but the audio quality is great and I detected no audio problems.  Optional Subtitles are included.

According to the Criterion Collection, the original 5.1 lossless soundtrack was mastered at 24-bit from the original digital audio master using Pro Tools HD.

SPECIAL FEATURES:

“Certified Copy – The Criterion Collection #612″ on Blu-ray comes with the following special features:

• The Report – (1:49:28) A civil servant is a hard worker but is often not there for his wife and child.  But when he is accused of bribery, his life starts to change and his marriage also begins to suffer.
• Abbas Kiarostami - (16:02) Featuring an interview with Abbas Kiarostami who talks about the film, what inspired the film and finding the cast members for the film.
• Let’s See “Copia Conforme” – (52:05) A documentary by Irene Bufo featuring the making of the film and interviews with Kiarostami, the cast and crew.
• Theatrical trailer - (2:14) Theatrical trailer for “Certified Copy”.
  

EXTRAS:

“Certified Copy – The Criterion Collection #612″ comes with a 24-page booklet featuring the essay “At Home and Abroad” by Godfrey Chesire.

 When it comes to films that are verbose, cerebral and dialogue-driven, more often, they can be too much for a viewer.  But when executed perfectly, you know you have something special.

May it be a film like Eric Rohmer’s “My Night at Maud’s” where characters spend a long time in discussion, but these they talk about aren’t banal, these are intelligent discussions by two individuals about life, art, reproduction.  But then you get this little twist that is reminiscent of Michelangelo’s Antonioni’s “L’Avventura” or Alain Resnais “Last Year At Marienbad” where the characters may appear to have known each other or perhaps have been in a relationship before, because their intelligent discussion leads to an argument that couples experience.

And that is one thing that is rather fascinating about “Certified Copy”, unlike Resnais “Last Year at Marienbad” which surrealism and visual filmmaking come together in a rather complex fashion, Kiarostami’s “Certified Copy” gives us no clues that the two are a couple, a former couple or two people trying to act out an experiment of relationships.  Or perhaps it is a dream… or is it reality?

Nothing is explained but it allows the viewer to give their own interpretation.  And this is important because the film’s original topic was about the concept of art and reproduction.  When we look at art, we have a response toward it. But that response can be different.  The same with this relationship, we have our own interpretation if these two characters.  In my mind, almost like painting that I spend a lot of time watching in a museum… you have these ideas of what is the intention of the artwork, what is the history and was the painting influenced by another.

With the characters of James Miller and the antique dealer, my mind was already dead set that these two individuals knew each other long ago, were in love and this visit was a way for them to escape reality and re-enact a moment of what if they were a couple.

Now I go back to the common argument of the film, art vs. reproduction and how the character of James Miller felt that reproductions were originals, as the original was also inspired or a copy of something else.  And when you start to think of the film and analyze it, what if that was the initial thought.  Using art as a symbol, but featuring cinema.  Cinema like art can be original but yet others  may feel it’s a copy or inspired by another film.

And then you wonder if its life imitating art.  Abbas Kiarostami once told actress Juliette Binoche that the film was based on his life, then changed his story that it was based on his life and then tells media that it s a story that incorporates Juliette’s life.  In other words, the message is that art, cinema and everything created can be original but yet can be inspired by something else.  So, what others will think of “Certified Copy” as original, others may point to Resnais “Last Year at Marienbad”, Antonioni’s “L’Avventura” or Wong Kar-Wai’s “In the Mood for Love”, and think that the film was inspired by those or other similar, dream-like type of films.

But do we need an explanation of why Kiarostami created the film?  I don’t think so, and that’s what makes “Certified Copy” so enjoyable to watch.  It’s a film that YOU interpret on your own.  And if everyone comes up with a different answer, then so be it, I’m sure filmmaker Abbas Kiarostami would be pleased.

Another reason why I enjoyed “Certified Copy” is how Kiarostami handles relationships.  He goes into more detail about this in the special feature but it’s the concept of the conflicts that are experienced between a man and woman in a relationship.  The more we understand each other, the worse things get.   And it’s a concept that many married couples or those who have been in long time relationships can understand.  When things go bad, we look to others who make things look as they are going so great but are they?  We have two characters who are somewhat soul searching and through each other, may it be through this playful interaction or may they be true emotions that are coming out, it’s that sense of the unpredictable that captivates us.  There is more going on with these two that is explained but yet, these conflicts can be understood, because many of us have experienced these uncertainties as well.

As for the performance, Juliette Binoche was absolutely fantastic in this film and for a first time major role for opera singer William Shimell, to have him memorize his line, including the long dialogue (which surprised Binoche who didn’t memorize everything, and utilized improvisation to coincide with Shimell’s performance) and literally be prepared for his role, I was impressed by his performance.  But both talents did a wonderful job.

As for the Blu-ray release, “Certified Copy” looks amazing on Blu-ray and cineaste who are fans of Kiarostami’s work should be pleased as there are no video or audio-related problems that I could find with this release.  And as far as special features go, it’s one thing that you get a documentary on the making-of the film and an interview with Kiarostami but the fact that the Criterion Collection also included his first feature film “The Report” (1977) with this release is fantastic!

Overall, if you are a cinema fan who loves films that incorporate intelligent conversation but also a film that incorporates Abbas Kiarostami’s brilliant direction and fascinating screenplay, which also further compliments the performance by Juliette Binoche and William Shimell, “Certified Copy” is highly recommended!

 

Being John Malkovich – The Criterion Collection #611 (a J!-ENT DVD Review)

A film that is original in every way, written by Charlie Kaufman and featuring the film debut of Spike Jonze, “Being John Malkovich” was not only ahead of its time, it’s a unique film featuring wonderful performances with a storyline that is captivating from beginning to end.  Featuring a wonderful, new 4K digital transfer, “Being John Malkovich” from the Criterion Collection is a film that I definitely recommend on Blu-ray and DVD.

Image courtesy of © Universal Studios Home Entertainment. © 2012 The Criterion Collection. All Rights Reserved.

TITLE: Being John Malkovich – The Criterion Collection #611

FILM RELEASE DATE: 1999

DURATION: 113 Minutes

DVD INFORMATION: Color, 5.1 Surround, 1:85:1 Aspect Ratio, Subtitles: English SDH

COMPANY: Universal/The Criterion Collection

RELEASED: May 15, 2012

Directed by Spike Jonze

Written by Charlie Kaufman

Executive Producer: Charlie Kaufman, Michael Kuhn

Producer: Steve Golin, Vincent Landay, Sandy Stern, Michael Stipe

Music by Carter Burwell

Cinematography: Lance Acord

Edited by Eric Zumbrunnen

Casting by Justine Baddeley, Kim-Davis Wagner

Production Design by K.K. Barrett

Art Direction by Peter Andrus

Set Decoration by Gene Serdena

Costume Design by Casey Storm

Starring:

John Cusack as Craig Schwartz

Cameron Diaz as Lotte Schwartz

Ned Bellamy as Derek Mantini

Mary Kay Place as Floris

Orson Bean as Dr. Lester

Cathrine Keener as Maxine Lund

John Malkovich as John Horatio Malkovich

Charlie Sheen as Charlie

Have you ever wanted to be someone else? Or, more specifically, have you ever wanted to crawl through a portal hidden in an anonymous office building and thereby enter the cerebral cortex of John Malkovich for fifteen minutes, before being spat out on the side of the New Jersey Turnpike? Then director Spike Jonze and writer Charlie Kaufman have the movie for you. Melancholy marionettes, office drudgery, a frizzy-haired Cameron Diaz—but that’s not all! Surrealism, possession, John Cusack, a domesticated primate, Freud, Catherine Keener, non sequiturs, and absolutely no romance! But wait: get your Being John Malkovich now and we’ll throw in emasculation, slapstick, Abelard and Heloise, and extra Malkovich, Malkovich, Malkovich!

Spike Jonze was best known in the early ’90s for his music videos.  From Beastie Boys “Sabotage”, R.E.M.’s “Parallel” to Bjork’s “Volumen”, Jonze would get the opportunity to direct his first major film titled “Being John Malkovich”, written by Charlie Kaufman (“Eternal Sunshin of the Spotless Mind”, “Adaptation”, “Syndecdoche, New York”).

The film resonated strongly with younger viewers and also receive rave reviews from film critics, “Being John Malkovich” would win over 45 awards and receive over 45 nominations including Academy Award nominations for “Best Director”, “Best Writing, Screenplay Written Directly For the Screen” and “Best Actress in a Supporting Role” (Catherine Keener).

Championed for its originality, “Being John Malkovich” will now be released on Blu-ray and DVD courtesy of the Criterion Collection in May 2012.

“Being John Malkovich” revolves around a puppeteer named Craig Schwartz (played by John Cusack).  Craig is married to Lotte (played by Cameron Diaz) who loves to have a lot of pets inside the house but also wonders when they will have a baby.

Because puppeteering isn’t exactly working out for Craig, nor is it bringing home any money, he applies for various jobs and gets a job as a file clerk for Dr. Lester (played by Orson Beat) of LesterCorp.  The 7 1/2 Floor is unusual because it’s ceilings are so low inside the Mertin Flemmer Building in New York City, but through an orientation video, learns that Mertin Flemmer who built the building married a little person and thus, built buildings with low ceilings in love for his wife.

While watching the orientation video, he can’t keep his eye off his sexy co-worker named Maxine (played by Catherine Keener).  And each attempt he takes in trying to get close to her, she pushes him away.  And each day, he finds himself even more attracted to her, but she is not interested in him.

One day, while moving things around in his office, he discovers a small door behind the filing cabinet.  When he opens the door and crawls through the tunnel, he finds himself inside actor John Malkovich (played by John Malkovich) and the ability to be another person, let alone a celebrity has major impact on Craig’s life.  While being inside John Malkovich’s head is temporary (those who go in are dropped into a ditch near the New Jersey Turnpike), he decides to tell Maxine about his find.

At first Maxine doesn’t believe him but she realizes that both she and Craig can make money by charging people a $200 admission and give them the opportunity of being John Malkovich.

Craig tells Lotte that he is busy in the office and thus is unable to come home (because he wants to be around Maxine) but when he tells Lotte about being John Malkovich, she wants to try it and sure enough, once she does, her life changes.  So much to the point that she becomes obsessed by it and wants to become a transgendered person.

When he goes to Craig’s office and meets Maxine, she wants to go inside John Malkovich’s head again and while she’s in there, Maxine uses the moment to know and get closer to John Malkovich.   And as she gets closer and Lotte is occasionally inside John Malkovich, when Maxine is having sex with John Malkovich, she knows that Lotte is watching and Lotte herself is getting turned on (and realize she has a thing for Maxine).

So, now both Craig and Lotte are sexually attracted to Maxine.

But what happens when Craig starts to become jealous of Lotte wanting to be inside of John Malkovich, so she can have sex with Maxine?  And what happens when John Malkovich starts to sense that something is not right, as if someone is controlling him?

VIDEO & AUDIO:

“Being John Malkovich” is presented in widescreen 1:85:1 and is a new digital transfer.  According to Spike Jonze, this Criterion Collection release “matches what our original print looked like and how we were never able to get that when we put out the DVD before”.

With that being said, its important to note that if you want the best video and audio quality of “Being John Malkovich”, it’s recommended that one purchases the Blu-ray release.  Having owned the original DVD release of “Being John Malkovich”, the quality of the film is definitely an upgrade for this Criterion Collection DVD.  There is a bit more clarity and detail but I’m confident that the Blu-ray version will probably feature even better detail and clarity.

As for the picture quality, according to the Criterion Collection, “Being John Malkovich” was supervised by director Spike Jone and cinematographer Lance Acord.  The new digital transfer was created in 4K resolution on a DFT SCANITY film scanner from the original 35mm camera negative.  The datea was then color corrected on a DaVinci Resolve at Company 3, with colorist Stefan Sonnenfeld.  Thousands of instances of dirt, debris, scratches, splices and warps were manually removed using MTI’s DRS, while Image Systems’ Phoenix was used for small, dirt, grain, jitter, flicker and noise reduction.

As for the audio, the audio is presented in Dolby Digital 5.1. Dialogue is crystal clear and I heard no hiss or any audio problems during my viewing.  While the film is primarily dialogue, there is good use of surround channels during the entry to John Malkovich’s head.  Once again, for better audio quality, I recommend going for the Blu-ray version for even better audio clarity and dynamic range on its lossless audio track.  Otherwise, the DVD sounds very good..

According to the Criterion Collection, the 5.1 surround soundtrack was created from the original 6-track magnetic master.  Clicks, pops, etc. were removed using ProTools HD and then translated into foreign languages and redubbed to our original soundtrack master.  Crackle was attenuated using AudioCube’s integrated workstation.

English subtitles are presented in English SDH.

SPECIAL FEATURES:

“Being John Malkovich – The Criterion Collection #611” comes with the following special features:

• All Noncombatants Please Clear the Set - (33:18) Filmmaker Lance Bangs documented the entire shoot of “Being John Malkovich” back in 1998 and trimmed it down to a half-hour portrait of the atmosphere on the set.
• John Malkovich and John Hodgman – (27:49) John Hodgman interviews John Malkovich about the film.
• Spike’s Photos – (15:28) Made by filmmaker Lance Bangs, Spike Jonze showcases photos he took on the set of “Being John Malkovich”.
• 7 1/2 Floor Orientation – (2:12) The orientation video that Craig Schwartz watched before starting his new job.
• “American Arts & Culture” Presents John Horatio Malkovich: “Dance of Despair and Disillusionment” – (4:17) The episode of “American Arts & Culture Presents John Malkovich” that was seen in the film.
• An Intimate Portrait of the Art of Puppeteering – (7:20) A featurette by filmmaker Lance Bangs about puppeteering and how it was used in the film.
• TV Spots – Featuring four TV spots for “Being John Malkovich: JM Inc., Tunnel, Spithead and Vesselis humanus.
• Trailer – (1:55) The original theatrical trailer for “Being John Malkovich”.

EXTRAS:

• 16-Page booklet – “Being John Malkovich” comes with a 16-page booklet with the following essay: “The Original Piece of Wood I Left In Your Head: Spike Jonze in Conversation with Perkus Tooth”.

Original and captivating, Spike Jonze and Charlie Kaufman’s “Being John Malkovich” was a film that no one would ever expect to be made into a film, but because of its originality, it has become one of the most groundbreaking films to be released in America within the last 15 years.

Back in May  2000, during my original DVD review of “Being John Malkovich”, I often wrote about how original the film was and how Spike Jonze was going to be the next big director in the U.S. because of this film.  There was no doubt that “Being John Malkovich” was a film that would resonate strongly with independent filmmakers, younger audiences and the film critics, but watch the film again in 2012, you also realize how this film was ahead of its time.

In the beginning, “Being John Malkovich” had a banal style of a man who lives a life that is not going all that great, his love for puppeteering is not as welcomed in today’s society nor is it a way for him to make a living and there is a sense of disconnection with his wife, who shows more love to her animals (which he could care less of).  And the main character, Craig Schwartz starts to have a sexual attraction to his co-worker.  Once again, seems banal but that’s where things take a twist.

Who would ever think of a film where people can enter a tunnel and enter the mind of actor John Malkovich.  And those who experience it literally go through a life-changing experience.

On paper, the explanation of “Being John Malkovich” seems as if it is being penned by someone trippin’ on acid, but what he have is a writer striving for originality and a young director at the time who was creative and did thing his way.

Charlie Kaufman is a writer who loves creating original stories and since “Being John Malkovich”, he has continued this audacious style through films such as “Synecdoche, New York”, “Eternal Sunshine of the Spotless Mind”, “Confessions of a dangerous Mind” and “Adaptation”.  And Spike Jonze is a director that knows how to interpret Kaufman’s originality with his own.  Jonze is not a product of traditional Hollywood.  He has come from a music video background and is known for his fascinating and cool videos for The Beastie Boys, Bjork, R.E.M., The Chemical Brothers, Weezer and many others.

He is a product of a young, talented filmmakers that are known for creativity and he has shown that in his films such as “Adaptation”, “Where the Wild Things Are” but creativity that also goes even farther when he and a group of friends created Dirt Magazine, he owns the Girl skateboard company and the collaboration between Jonez and Kaufman have been successful.

Back to “Being John Malkovich”, part of the allure of the film is how people want to experience the life of a celebrity.  And they can see it up front.  It’s an invasion of privacy but yet people revel in it.  I don’t think Kaufman or Jonze would know how life would change for celebrities with social media, Facebook, Twitter and how information is so readily out there for outlets like TMZ.com and regular people to know what celebrities are thinking and where they are at, almost real time.

There are so many things that made me laugh while watching this film.  From the 7 1/2 floor where Craig works and seeing the ceilings so low, with a crazy orientation video, add in a woman who misunderstands everything that is being said, a crazy boss, a sexy (golddigging) co-worker and a puppeteer who seems normal but yet has some creepy qualities.

And that led to the unexpected nature of how this film was going to play out.  I remember watching this film and thinking of how original this film was but also how exciting it was because it didn’t follow banal traditions or storytelling.  And watching it again over a decade later, “Being John Malkovich” is still a wonderful film!

John Cusack did a wonderful job of playing the creep Craig Schwarz and this is probably one of the few films starring Cameron Diaz (and Charlie Sheen) which I actually do like.  But both Catherine Keener and even John Malkovich himself were great in the film and how cool Malkovich was of the film’s humor and the use of his persona.  For Keener, her appearance on “Being John Malkovich” would eventually lead the actress to appear in more films by Jonze and Kaufman and for Malkovich, if “Dangerous Liasons” or “Con Air” didn’t make audiences know much about the actor, this film surely generated interest in him.

And it was also great to see Octavia Spencer in an earlier, shorter role a decade before she would win awards for her role on “The Help”.

As for this new release from the Criterion Collection, eventually the new digital transfer is enticing since the film is on Blu-ray but for the DVD version which I am reviewing, the DVD looks and sounds good and as Jonz said, with the previous DVD’s, he wasn’t able to get the color to match to the original print, until now.  So, while the Blu-ray release is surely the definitive version to own, those who don’t own a Blu-ray player and are fine with DVD, will still enjoy this release from the Criterion Collection.

For those who owned the older DVD, while the majority of the special features are on this new Criterion Collection release, one thing that is new is the conversation between John Malkovich and actor John Hodgman (better known to many as the PC guy in the older Apple Mac commercials).  This interview was much more informative and enjoyable to watch than the older “An Interview with Spike Jonze”  which was not good at all.

But what it comes down to is the new digital transfer and the Criterion Collection giving it a 4K digital transfer is a big deal because this film looks great on DVD and magnificent on Blu-ray.

Overall, if you are a big fan of “Being John Malkovich” or a person who is curious about this film (or Criterion Collector who will buy the film no matter what), this film is a worthy addition to the Criterion Collection and is definitely recommended!

 

The Organizer – The Criterion Collection #610 (a J!-ENT Blu-ray Disc Review)

The Academy Award nominated “The Organizer” is one of Mario Monicelli’s more serious tragicomedy films and an intriguing juxtaposition when compared to Sergei Eisenstein’s “Strike”. But it’s the characters that shine in Monicelli’s engaging film.  Honest and full of humor, but yet tragic, “The Organizer” is one film that I highly recommend!

Image courtesy of © 1963 Lux Film – Vides Cinematografica. The Criterion Collection. All Rights Reserved.

TITLE: The Organizer – The Criterion Collection #610 (I Compagni)

MOVIE RELEASE: 1963

DURATION: 130 Minutes

DVD INFORMATION: Color, 1:66:1 Aspect Ratio, Spanish Stereo with English Subtitles

COMPANY: Janus Films/The Criterion Collection

RELEASE DATE: April 24, 2012

Directed by Mario Monicelli

Story and Screenplay by Agenore Incrocci, Furio Scarpelli, Mario Monicelli

Produced by Franco Cristaldi

Music by Carlo Rustichelli

Cinematography by Giuseppe Rotunno

Edited by Ruggero Mastroianni

Production Design by Mario Garbuglia

Set Decoration by Mario Garbuglia

Costume Design by Piero Tosi

Starring:

Marcello Mastroianni as Professor Sinigaglia

Renato Salvatori as Raoul

Gabriella Giorgelli as Adele

Folco Lulli as Pautasso

Bernard Blier as Martinetti

Raffaella Carra as Bianca

Francois Perier as Maestro Di Meo

Vittorio Sanipoli as Baudet

Mario Pisu as Manager

Kenneth Kove as Luigi

Annie Girardot as Niobe

Edda Ferronao as Maria

Anna Di Silvio as Gesummina

In turn-of-the-twentieth-century Turin, an accident in a textile factory incites workers to stage a walkout. But it’s not until they receive unexpected aid from a traveling professor (Marcello Mastroianni) that they find their voice, unite, and stand up for themselves. This historical drama by Mario Monicelli, brimming with humor and honesty, is a beautiful and moving ode to the power of the people, and features engaging, naturalistic performances; cinematography by the great Giuseppe Rotunno; and a multilayered, Oscar-nominated screenplay by Monicelli, Agenore Incrocci, and Furio Scarpelli.

When there is discussion of the oeuvre of an Italian filmmaker, it is easy to mention the names of legendary directors Federico Fellini, Michelangelo Antonioni, Vittorio De Sica, Luchino Visconti and Mario Monicelli.

Mario Monicelli is known in Italy as one of the masters of Commedia all’Italiana (Comedy Italian style) and received Oscar nominations for his screenwriting for “The Organizer” (1963) and “Casanova ’70″ (1965).  As well as a Grand Prize of the Festival nomination at the Cannes Film Festival (“Guardie e ladri”, 1951) and Palme d’Or nominations for “For Love and Gold” (1966), “Vogliamo i colonnelli” (1973), “An Average Little Man” (1977) and “Le due vite di Mattia Pascal” (1985).

And while he is known outside of Italy for his comedy films such as “I soliti ignoti” (“Big Deal on Madonna Street”) and collaborating with talents such as Toto, Vittorio Gassman and Marcello Mastroianni, Mastroianni also directed films that contained humor, but were tragic or futile.  One of the most important films Monicelli is known for is “La grande guerra” (“The Great War”, 1959), which he was nominated for an Academy Award and considered as his top masterpiece, and also directing “i compagni” (“The Organizer”, 1963) and “The Girl with the Pistol” (1968).  Both films, he would also receive Academy Award nominations.  Fitting films for a Marxist who accepted reality and its failures.

In his lifetime, he won 27 awards worldwide and won an Honorable Mention at the 44th Berlin International Film Festival and a Golden Lion for Career at the 1991 Venice Film Festival.  His final film was in 2006 in which the filmmaker directed “The Roses of the Desert” at the age of 91.

A man full who lived life to the fullest, unfortunately his final years with prostate cancer would become too much of a burden on the filmmaker that he committed suicide in 2010 at the age of 95.

While many people are familiar with Monicelli’s comedy films such as “Big Deal on Madonna Street”, which was released by the Criterion Collection back in 2001.  Criterion Collection will be releasing “i Compagni” (“The Organizer”), one of his more serious films ala “tragicomedy” for the first time on Blu-ray and will also be released on DVD in April 2012.

“The Organizer” is a film that is set in the turn-of-the-twentieth century Turin, Italy and at a textile factory where employees work 14-hour days and only a short time for a lunch break. The factory is where many elders, adults and even children work long hours.

The work is tiring, monotonous and the employees feel like they are like slaveworkers, with no appropriate breaks or even time long enough to eat their lunch.  But some try to keep optimistic as the job pays the bills and it also gives men a chance to have fun with the opposite sex.

One day, we see how many employees are tired and sleepy in their jobs (which can be very dangerous) and one man’s arm gets caught in a gear and thus having his arm amputated.  This a common situation at the textile factory and most of the time, all they can do is collect donations to help their family out while the person is out of work.

But how long can they keep doing this?  Someone needs to speak out to management about the working conditions but who is brave enough to do it?

As many of the employees start to form meetings and decide who will confront the management, by the time they do, they realize the management could care less about how they feel.  This is the working condition of other factories in the country and there are just as many unemployed people who would want the opportunity to find a job.  And as for the accidents, the management disregard it as nothing but bad luck for those individuals.

And the employees know they don’t have much of a voice against management and their wealthy owner.

That is until Professor Sinigaglia (played by Marcello Mastroianni) arrives into town.  An actual fugitive wanted by authorities, the Professor stumbles into the factory town by fate and realizes that these people are in despair.  So, what he does to help them is help them unite and fight fire with fire by preparing the employees for going on strike.  With no workers, management and their wealthy owner of the factory will surely feel the sting.  And the Professor tries to assist them with their demands of working 13 hour shifts (instead of 14) and longer breaks.  But will management accept?

As the Professor preaches to the workers that they need to prepare and to hold out as long as they can without any money, in order to have their demands met, but will the strike holdout have any effect on the management?  Or in the long run, will the strike hurt employees instead?

VIDEO:

“The Organizer” is presented in 1080p High Definition (1:85:1 aspect ratio).  The whites and grays are well-contrast and black levels are very deep.  For the most part, I detected no film damage or any white specks, artifacts or banding issues.  The quality of the film is very good, doesn’t look soft and viewers should be pleased.

According to the Criterion Collection, this new high-definition transfer was created on a Spirit Datacine from a new 35 mm print.   Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI’s DRS system and Pixel Farm’s PFClean, while Image Systems DVNR was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

“The Organizer” is presented in LPCM 1.0 monaural Italian with optional English subtitles.  Dialogue is crystal clear and I detected no pops or hiss during my viewing of this film.

According to the Criterion Collection, the original stereo soundtrack was remastered at 24-bit from a 35 mm optical soundtrack positive.  Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube’s integrated workstation.

SPECIAL FEATURES:

“The Organizer – The Criterion Collection #610″ on Blu-ray comes with the following special features:

• Mario Monicelli – (10:53) Featuring an interview with director Mario Monicelli recorded by the Criterion Collection in 2006.  Monicelli talks about Commedia all’Italiana and his career.
• Theatrical trailer -Theatrical trailer for “The Organizer”.
  

EXTRAS:

“The Organizer – The Criterion Collection #610″ comes with a 4-page (dual sided) fold-out leaflet, featuring the essay “Description of a Struggle” by J. Hoberman.

 

I simply adore the films by Mario Monicelli and when it comes to “The Organizer”, it’s rather fascinating because when it comes to films about workers going on strike, in many modern films, the outcome has always been in the employees favor and always positive outcome of how labor laws were changed.

But not so much the case in cinema past, especially films from Europe.

From Sergei Eisenstein’s 1925 film “Stachka” (Strike) that showcased Eisenstein’s theme of collectivism versus individualism and showcasing how employees work themselves to death while owners and management are wealthy and could care less about their employees, Eisenstein’s film was grounded in Lenin belief that, “The strength of the working class is organization. Without organization of the masses, the proletarian is nothing. Organized it is everything. Being organized means unity of action, unity of practical activity”.

We fast forward to 1963 and similar to “Strike”, Monicelli’s film is set during the turn-of-the-twentieth century Turin.  As Eisenstein’s film preached Leninism, Monicelli believed in Marxism, which literally is a society in which burgeois or idealism do not exist.

In today’s world, specifically here in the West, the idea of long work hours, employment of children and literally no breaks can not be fathomed.  But yet this mentality still continues in other countries.  The reality for some countries today and how things were back then is that people accept their working condition and the fear of the harsh realities of not making any income is enough for one not to stand up and become defiant towards their management.  As a collective, not many are willing to do public protests, strike back in the media nor are they in a position financially to do so.

This is the reality today.

And back then, a lot of these individuals had no means to strike back, especially as a collective through media or political means.  In Eisenstein’s “Strike”, the reality of the employees and their organized strike was violence.  Violence towards the management, violence towards any other employees who were not able to hold out from the strike and were willing to return to their jobs.  And unfortunately, all that is left is tragedy.

Fortunately, Monicelli’s “The Organizer” is a film that showcases Monicelli’s belief that the reality is what it is, and the employees of Turin need to realize that going on strike may have hurt the management but in the long run, the reality is they have the means to outlast the workers, because they have the money to survive.

And another juxtaposition with Eisenstein’s “Strike” is that the people were ready to fight and die for what they believe in.  This was the Leninism perspective of working as a collective.  Monicelli’s “The Organizer” featured a collective that was held on a string, courtesy of Professor Sinigaglia, but it was evident that these workers have families, children that depend on them and while some maybe able to fight, the outcome is much more different, despite their being a tragedy.

Another key difference is the inclusion of comedy.  Eisenstein’s “Strike” was primarily focused on the strike itself and the differences of lifestyle with the factory workers and the wealthy and how the financial impact was hurting families.

In Monicelli’s “The Organizer”, times are tough but yet there is humor.  May it be a man who tries to flirt with a young woman, the stocky long-time employee Pautasso during his lunch break as he holds a huge circular bread to chow down on, or may it be a young boy who is not afraid to talk back to his elders (and also admonishing his younger brother who is attending school but would rather be an employee at the factory) or the local prostitute who tries to entice Professor Sinigaglia.

There are many of these moments that help the viewer get closer to various characters and see that despite how difficult the times are, they try to make the best of it.

So, for me, “The Organizer” has always been a fascinating film as it is an intriguing juxtaposition when compared to Eisenstein’s film.  Both have similarities but yet are very different.

Actor Marcelo Mastroianni is often seen playing a suave, charismatic character that always gets the lady and come to think of it, I suppose nothing has changed as the Professor also manages to find a woman but in different circumstances.   But Mastroianni does a good job playing Professor Sinigaglia and being the spoken leader for the workers.

But as Marcelo Mastroianni is the lead actor, what I enjoyed most of the film are the workers who attract the viewers through their feebleness, their humor or directive.  Renato Salvatori, Gabriella Gieorgelli, Folco Lullu, Bernard Blier, Raffaella Carra and many more, its the supporting cast of the film that makes “The Organizer” come to life.  The performances are honest and humorous but also feel realistic and natural,  and because of that, it does add to the engaging storyline.

As for the Blu-ray release, the video quality of “The Organizer” is fantastic and the interview with Mario Monicelli included on this Blu-ray was also enjoyable to watch, considering it was shot during a time when he was in good health and a few years before he died.  Although I wish there were more special features included, especially audio commentary, I’m still grateful that this interview with Monicelli was included on this Blu-ray release.

Overall, “The Organizer” has always been one of my favorite Monicelli films and I can only hope that with this release, it will pave the way for more Monicelli films such as “La Grande Guerra” (“The Great War”),  “The Girl With the Pistol” or “L’armata Brancaleone” (“For Love and Gold”) to receive a video release.

“The Organizer” is highly recommended!

 

¡Alambrista! – The Criterion Collection #609 (a J!-ENT Blu-ray Disc Review)

Robert M. Young’s award-winning, groundbreaking film about illegal immigration and the harsh living conditions and the life endured by the undocumented farm laborer.  “¡Alambrista!” still has its relevance in today’s society and that the American dream of a better life that many people hope to attain, is probably only a dream and nothing else.

Image courtesy of © 1978, 2004 Bobwin Associates. 2012 The Criterion Collection. All Rights Reserved.

TITLE: ¡Alambrista!  – The Criterion Collection #609

MOVIE RELEASE: 1977

DURATION: 96 Minutes

DVD INFORMATION: Color, 1:66:1 Aspect Ratio, Spanish Stereo with English Subtitles

COMPANY: The Criterion Collection

RELEASE DATE: April 17, 2012

Directed and written by Robert M. Young

Produced by Michael Hausman, Irwin Young

Executive Producer: Barbara Schultz

Associate Producer: Sandra Schulberg, David Streit

Music by Michael Martin Murphey

Cinematography by Tom Hurwitz, Robert M. Young

Edited by Edward Beyer

Art Direction by Lilly Kilvert

Starring:

Domingo Ambriz as Roberto

Trinidad Silva as Joe

Linda Gillen as Sharon

Ned Beatty as Angelo Coyote

Edward James Olmas as 1st Drunk

In ¡Alambrista!, a Mexican farmworker sneaks across the border to California to make money to send to his family back home. It is a story that happens every day, told here in an uncompromising, groundbreaking work of realism from American independent filmmaker Robert M. Young. Vivid and spare where other films about illegal immigration might sentimentalize, Young’s take is equal parts intimate character study and gripping road movie, a political work that never loses sight of the complex man at its center. ¡Alambrista!, winner of the Cannes Film Festival’s inaugural Caméra d’Or in 1978, remains one of the best films ever made on this perennially relevant topic.

When it comes to take on films about a certain ethnicity or country, Award-winning filmmaker Robert M. Young is no stranger when it comes to taking on those challenges.

From his award-winning documentary “The Eskimo: Fight For Life” (1970), to covering a civil war in Angola to his long collaboration with actor Edward James Olmos in many of his films, including the acclaimed TV series “American Me”.  If there was one film that stands out in Young’s oeuvre is his 1977 film “¡Alambrista!”, a film which won four awards including the Camera d’Or award for “Best Feature” at the Cannes Film Festival.

Before there were films about immigrants risking their life to find jobs and trying to survive in America such as Gregory Nava’s 1983 film “El Norte” or Chris Weitz’ 2011 film “A Better Life”, in 1977, Robert M. Young would write and direct his groundbreaking film “¡Alambrista!”.  And now this film will receive its Blu-ray and DVD release courtesy of the Criterion Collection in April 2012.

“¡Alambrista!” revolves around a protagonist Roberto (played by Domingo Ambriz) who just became a new father and knowing that money is tight, he makes the decision to leave the state of Michoacan in Mexico and try making enough money for a year in America and return back home.

For Robert, he felt that his father had taken the risk for his family as he had departed Mexico to find work, but despite his father not returning back to Mexico, he promises his wife that he would return in a year.

As he risks his life to cross over to America, he quickly learns that finding a job is not going to be easy.  You do a lot of manual labor in the heat, for long hours and you literally have no place to sleep.  And the lives of many of these farm laborers is to move and find more farms where help is needed in order to make money.

As he watches Americans live their lives, Roberto’s life in America is not easy.  Undocumented and no knowledge of English, he’s literally at the mercy of his employers and the life of a laborer is rough.

Filmed with a touch of director Robert M. Young’s documentarian style, “¡Alambrista!” follows the life of Robert and is a close-up look of the life of an illegal immigrant trying to survive in America in order to help his family.

 

VIDEO:

“¡Alambrista!” is presented in 1080p High Definition (1:66:1 aspect ratio).  For a 1977 film that was shot in 16 mm, one thing that you can expect is a lot of grain and “”¡Alambrista!” features it throughout the film, most notable on outdoor scenes, the film looks good for its age.   I didn’t see any signs of DNR or artifacts, so overall, picture quality is good.

According to the Criterion Collection, the transfer was approved by director Robert M. Young, this new high-definition digital transfer was created in 2K resolution on a Spirit 2K Datacine from a 35 blow-up interpositive made from the original 16 mm A/B negatives. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI’s DRS system, while Image Systems’ Phoenix was used for small dirt and grain reduction.

AUDIO & SUBTITLES:

“¡Alambrista! ” is presented in LPCM 2.0 Spanish with English subtitles.  Dialogue is clear and I heard no signs of audio problems whatsoever.

According to the Criterion Collection, the original stereo soundtrack was remastered at 24-bit from the original magnetic track print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube’s integrated workstation.

SPECIAL FEATURES:

“¡Alambrista!” on Blu-ray comes with the following special features:

• Audio commentary – A 2010 audio commentary featuring director Robert M. Young and co-producer Michael Hausman as they discuss the making of “¡Alambrista!” and more.
• Edward J. Olmos – (11:53) Edward J. Olmos talks about his working relationship with filmmaker Robert M. Young and his scene in “¡Alambrista!”.
• Children of the Fields - (26:36) A 1973 documentary about children of farm laborers who work in the fields by Robert M. Young which inspired the filmmaker to make “¡Alambrista!”.
• Theatrical trailer – (3:31) Theatrical trailer for “¡Alambrista!”.
  

EXTRAS:

“¡Alambrista!  – The Criterion Collection #609″ comes with a 5-page (dual sided) fold-out leaflet, featuring the essay “Inside the Undocumented Experience” by Charles Ramirez Berg.

 

Robert M. Young’s film “¡Alambrista!” was one of the first films in America to show how life was for illegal immigrants.

Having grown up in an agricultural area, seeing farm laborers working in high heat sometimes reaching 115 degrees Fahrenheit, as a young child, I could never really understand why they would do that.  And as I grew older, you start to hear about children working in the fields, the bad conditions that these people live in, especially the dangers as I can easily recall a number of fatalities that you would read in the newspaper of farm laborers who died due to heat exhaustion or involved in accidents as many were packed into vans with no seat belts.

These were common stories that one would read in the local newspaper but the reality is that a lot of these people were willing to take on these difficult jobs that normal Americans, even in areas with high unemployment, would not want to do.  These individuals worked in harsh conditions, for the sake of trying to make money for their families and to survive.

There are two films that have made an impact on me when it comes to the life of the illegal immigrant, “¡Alambrista!” and “El Norte”, both available on Blu-ray and DVD courtesy of the Criterion Collection.  While the latter focused more on the dangers of survival of trying to achieve the American Dream, “¡Alambrista!” is a more honest and true portrayal as filmmaker Robert M. Young would get to learn the life of these individuals through his documentary work (the “Children of the Fields” documentary is included on this Blu-ray release).

But what contributes to the efficacy of “¡Alambrista!” is that it is believable.  Domingo Ambriz does a good job of portraying Roberto and we can see through his facial expressions of his view on America, the people he comes in contact with and just trying to figure out if someone like him can be part of that American dream.

In fact, probably one of the most interesting things to find out from this film is the special feature with Edward James Olmos.  The scene is short, but it is pivotal as Olmos’ character along with another, in a drunken stupor, yells at the illegal immigrants that what they are doing is not the American way.  The life of picking is not going to get them anywhere in America.  And the most fascinating thing is that the scene was shot in front of real farm laborers who had no idea that Olmos was an actor. What Young gets on camera is the real facial expressions of non-actors, but real farm laborers.

But the film manages to capture the hard life of Roberto as there continues to be hundreds of people like Roberto every year who are working in the worst conditions, living in the worst conditions in order to survive.  Sure, things have changed a lot since 1977 and the issue of illegal immigration continues to be a touchy subject in American politics.

But those stories I mentioned about these farm laborers, stories that I read about when I was younger and in my teen years, are still printed today and goes to show that a film such as “¡Alambrista!”, which still has its relevance in today’s society, goes to show that the American dream of a better life that many people hope to attain, is probably only a dream and nothing else.

Robert M. Young’s “¡Alambrista!” is recommended!

 

A Hollis Frampton Odyssey – The Criterion Collection #607 (a J!-ENT Blu-ray Disc Review)

“A Hollis Frampton Odyssey” is a wonderful collection of the best of Hollis Frampton (not a release of his complete work), but it’s a long awaited release that Frampton fans have wanted to see for a very long time.  For Frampton’s films, it’s about illusionist complexity as a whole and Frampton even said, “the trained eye and the trained mind will respond in the way that he indicates”.  Some may find these films redundant, didactic or effete, but others may find it complex, surreal and cerebral.  As a fan of avante-garde films, I was fascinated by its complexity and audaciousness.   These films are about how you interpret it on your own, through your own personal experience.  “A Hollis Frampton Odyssey” is highly recommended!

Image courtesy of © The Estate of Hollis Frampton. 2012 The Criterion Collection. All Rights Reserved.

TITLE: A Hollis Frampton Odyssey – The Criterion Collection #607

MOVIE RELEASE: 1966-1979

DURATION: 24 Films (266 Minutes)

DVD INFORMATION: Color & B&W, 1:33:1 Aspect Ratio, Monaural, Subtitles: English SDH

COMPANY: The Criterion Collection

RELEASE DATE: April 24, 2012

Directed by Hollis Frampton

An icon of the American avant-garde, Hollis Frampton made rigorous, audacious, brainy, and downright thrilling films, leaving behind a body of work that remains unparalleled. In the 1960s, having already been a poet and a photographer, Frampton became fascinated with the possibilities of 16 mm filmmaking. In such radically playful and visually and sonically arresting works as Surface Tension, Zorns Lemma, (nostalgia), Critical Mass, and the enormous, unfinished Magellan cycle (cut short by his death at age forty-eight), Frampton repurposes cinema itself, making it into something by turns literary, mathematical, sculptural, and simply beautiful—and always captivating. This collection of works by the essential artist—the first release of its kind—includes twenty-four films, dating from 1966 to 1979.

Many Criterion Collection fans have wondered when the company would release more anthology collections featuring avante-garde filmmakers.

We have seen the release of films by Stan Brakhage via two anthology volumes on Blu-ray but yet, fans have hoped to see an anthology or special release showcasing the work of Maya Deren, Kenneth Anger, Ernie Gehr, Andy Warhol, Marie Menken, Pat O’Neill and Hollis Frampton, to name a few.

With the support from those who enjoyed the “Stan Brakhage Anthology” release, Criterion Collection has chosen some of the best work of avante-garde filmmaker Hollis Frampton,  in order to help introduce Frampton’s oeuvre to curious cineaste but also please a following who have wanted to see a more thorough collection of his hard-to-find films.

Hollis Frampton is one of the most unique and talented filmmakers, especially when you follow his career as a student at Harvard University and Western Reserve University who was looked at by his peers as a genius but at the same time, he was also the type that walked the beat of his own drum and while taking a lot of classes that he wanted to take, he never graduated.

But it’s the third of learning of art that inspired Frampton.  From his friendship with painters Frank Stella, sculptor Carl Andre to developing a correspondence with modernist poet Ezra Pound, Frampton would take an interest in photography documenting Carl Andre’s work.

And with his pursuit of creativity, Frampton would explore his ideas through filmmaking and showcasing his experimental use of film, audio and also digital art through the use of computers during that time of his life.

While creating a plethora of films, some to have been shown in museums and galleries, the film that he is best known for is his 1970 experimental film “Zorns Lemma” but like a painting, many have had their own take and perspective of Frampton’s work.  He would later follow up with the Hapax Legomena films and many more that would follow, including what would have hoped to be his magnum opus, the Magellan films.

But unfortunately, Hollis Frampton’s life was cut short at the age of 48 due to lung cancer and for many avante-garde and fans of Frampton’s work, his ultimate project “Magellan” would never be completed.  Yet, Frampton still leaves behind a body of work that is celebrated to this day.

“A Hollis Frampton Odyssey” features the following 24 films which were selected by film preservationist Bill Brand and Frampton scholars Bruce Jenkins and Michael Zryd, in consultation with Frampton’s former partner, Marion Faller:

EARLY FILMS

Hollis Frampton’s most successful film “Zorns Lemma” (1970) is included.
Manual of Arms (1966 • 17 minutes, 10 seconds • Black & White • Silent)
Process Red (1966 • 3 minutes, 37 seconds • Color • Silent)
Maxwell’s Demon (1968 • 3 minutes, 44 seconds • Color • Mono)
Surface Tension (1968 • 9 minutes, 30 seconds • Color • Mono)
Carrots & Peas (1969 • 5 minutes, 21 seconds • Color • Mono)
Lemon (1969 • 7 minutes, 17 seconds • Color • Silent)

Zorns Lemma (1970 • 59 minutes, 51 seconds • Color • Mono)

FILMS FROM HAPAX LEGOMENA

Within Frampton’s oeuvre, “Hapax Legomena” is the only multi-part set of films that was completed.
(nostalgia) (1971 • 36 minutes, 7 seconds • Black & White • Mono)
Poetic Justice (1972 • 31 minutes, 28 seconds • Black & White • Silent)
Critical Mass (1971 • 25 minutes, 11 seconds • Black & White • Mono)

FILMS FROM MAGELLAN

Hollis Frampton began working on his “Magellan” movie back in 1972 and would continue to work on it until his death in 1984.

The goal for Frampton was to create a film that was 36-hours long and it would be shown for 369 days (369 because the first two days of the cycle overlaps the last two days of the preceding calendar year and the last two days of the cycle overlaps the first two days of the following calendar year, source: Brian Henderson – “Propositions for the Exploration of Frampton’s Magellan”, note: You will also see the figure of 371 days used.).  At the time of his death, Frampton had completed around 7-8 hours.

The schedule was planned around Ferdinand Magellan’s annotated calendar and the film would feature 1,000 films, divided into 24 sections, some films would allow for a few minutes of screenings while longer works would be featured during equinoxes, solstices and other specialized dates.

The Birth of Magellan
The Birth of Magellan: Cadenza I (1977–1980 • 5 minutes, 41 seconds • Color • Mono)
Straits of Magellan
Pans 0–4 and 697–700 (1969–74 • 1-minute each • Color • Silent)
INGENIVM NOBIS IPSA PVELLA FECIT, Part I (1975 • 4 minutes, 48 seconds • Color • Silent)
Magellan: At the Gates of Death, Part I: The Red Gate 1, 0 (1976 • 5 minutes, 10 seconds • Color • Silent)
Winter Solstice (1974 • 32 minutes, 36 seconds • Color • Silent)
The Death of Magellan
Gloria! (1979 • 9 minutes, 36 seconds • Color • Mono)

VIDEO:

“A Hollis Frampton Odyssey – The Criterion Collection #607” is presented in Black and White and color.  And because a lot of these films were low-budget and experimental, quality varies for many of the films featured in this collection.

According to the Criterion Collection, the films are presented in their original aspect ration of 1:33:1.  These new high-definition digital transfers were created on a Spirit 2K Datacine from original 16 mm A/B/C/D rolls, internegatives and prints.

“Critical Mass”, “Gloria!”, “Lemon”, “(nostalgia)”, “Poetic Justice” and “Zorns Lemma” preservation film elements courtesy of Anthology Film Archives, New York.

“INGENIVM NOBIS IPSA PVELLA FECIT, Part I; Less; Process Red; The Birth of Magellan: Cadenza I” and” Winter Solstice” film elements courtesy of the Film-Makers’ Cooperative, New York.

AUDIO & SUBTITLES:

“A Hollis Frampton Odyssey – The Criterion Collection #607″ showcases films that are silent or have audio.

According to the Criterion Collection, the original monaural soundtracks were remastered at 24-bit from original optical and magnetic tracks. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD.  Crackle was attenuated using AudioCube’s integrated workstation.

SPECIAL FEATURES:

“A Hollis Frampton Odyssey – The Criterion Collection #607″ on Blu-ray comes with the following special features:

• Hollis Frampton Interview - (20:08) 1978 interview by Adele Fried for the Video Data Bank at the School of Art Institute of Chicago.
• A Lecture - (23:04) A lecture given by Hollis Frampton on October 30, 1968 at a college in NYC.
• By Any Other Name – Featuring a gallery of artwork by Hollis Frampton.

Please note that the following narration or commentary is also included for the following films:

• Remarks by Frampton (Maxwell’s Demon) - (2:48)
• Remarks by Frampton (Surface Tension) – (:54)
• Commentary – 1977 Interview for TV series “Screening Room with Robert Gardner” (Lemon) – (7:17)
• Remarks by Frampton (Zorns Lema) – (5:58)
• Remarks by Frampton (Films for Hapax Legomis) – (2:32)
• Remarks by Frampton (nostalgia) – (2:56)
• Remarks by Frampton (Poetic Justice) – (2:47)
• Remarks by Frampton (Critical Mass) – (4:12)
• Remarks by Frampton  (Films for Magellan) – (2:17)

EXTRAS:

“A Hollis Frampton Odyssey – The Criterion Collection #607″ comes with a 46-page booklet with the following essays: “Nostalgia for an Age Yet to Come” by Ed Halter (critic and curator), “Early Films” by Bruce Jenkins (writer and media historian), “Zorns Lemma” by Bruce Jenkins (writer and media historian), “Hapax Legomena” by Ken Eisenstein (writing his dissertation on Hollis Frampton in the Department of Cinema and Media Studies at the University of Chicago), “Magellan” by Michael Zryd (teaches cinema and media studies in the Department of Film at York University in Toronto) and “Notes on Preserving and Presenting the Films of Hollis Frampton” by Bil Brand (owner-operator of BB Optics, which specializes in the preservation of films by artists).

“A Hollis Frampton Odyssey” is a fascinating collection of works from the avant-garde filmmaker Hollis Frampton.  Intellectual, witty and creative, there was no doubt that there was no limit to the creativity of Frampton’s work and perhaps the work on “The Magellan Films” would have been his magnum opus if he did not die from cancer.

But I do know that for years, there have been a group of Criterion Collection fans who absolutely adored the release of the “By Brakhage Anthology” and many have been clamoring for a release of may it be Maya Deren, Andy Warhol, Kenneth Anger and Hollis Frampton, to name a few.

And fortunately, the Criterion Collection will be bringing out 24 of his films on Blu-ray and DVD titled “A Hollis Frampton Odyssey”.

First, it’s important to note that “A Hollis Frampton Odyssey” and its films are not as easily reviewable for the public because it’s subjective.  What I find fascinating, it would be a disservice to say that these films are easily accessible especially those who are expecting films that they hope they can understand.

In fact, the beauty of Frampton’s work is that even if you look online, everyone including those who research Frampton’s work have their own perspective of what they think the film is about.  The good news is that there are “remarks by Hollis Frampton” giving insight to why he made the film.  But Frampton is not the type to tell people what the film is about, he can tell why and for what purpose but not how one should react to it.

Starting off with the “Early Films”, “Manual of Arms” is a black and white, gritty silent film as we see images of Frampton’s friends with various sources of lighting.  Then we see one smoking, one cutting his nails, one sitting down and fascinating editing of back-and-forth images, short images unlike Andy Warhol’s “Screen test” which fixates the camera on an individual for minutes and letting the individual play with the camera with a variety of emotions.  With “Manual of Arms”, it’s frenetic, gritty and this style of editing would be a signature style for Frampton for his films.

“Process Red” is a short three minute film which one can picture being shown via a loop at a museum or gallery.  Another silent film which goes from white images to red, but this time, instead of the back-and-forth imagery, it’s a loop of moving images, sped up and then repeated.

For “Maxwell’s Demon”, the film is another three minute short which has audio but it features buzzing to go along with the colors and a man exercising.  According to Frampton, this film was to pay homage to James Clerk Maxwell, the Scottish physicist and mathematician.  While known for his work on electromagnetism, Maxwell was also involved in teh field of optics and the study of color vision.  In fact, the first color photograph was taken by Maxwell and for Frampton, as a photographer and filmmaker, his goal was to create a short film based on the imaginary and pure energy of James Clerk Maxwell.

In the film “Surface Tension”, it’s a three part film that deals with the passage of time (a sped up film of a man playing with a clock while a telephone is ringing), the passage through space (featuring a sped up tour of the city but audio featuring a man speaking in a foreign language) and the third part, a disregard of time and space featuring a goldfish caught in an aquarium as the beach tides roll in, and titling is seen on the clip.

For the short “Carrots & Peas”, we see visual images of carrots and peas in this five minute short, while a voice is played backwards.  Where in “Lemon”, we see an image of a lemon as light goes around it and then focuses on the background, turning the lemon to a silhouette.  Interesting commentary included as Robert Gardner and Hollis Frampton discuss the lemon, while Gardner goes into discussion if the film is mean to be a symbol of eroticism.  Is the lemon a breast and the end, a nipple?  Once again, the beauty of Hollis Frampton films is one’s ability to have their own perspective and opinion.

Hollis Frampton’s most recognized work “Zorns Lema” is a 1 hour film in which Frampton came up with the idea of what he was unable to capture on actual photo stills while showing people, he can go in different order and loop through film.  So, what we have is moving images combined with video stills of titles, brands, etc.  I will say that when I first watched this film long ago, my perspective was a counterculture film about America being eaten away by corporations.  Money that is often spent towards corporation branding or material things.  So, that was my perspective when I first watched this film back then.  But it turns out that the film was an “open allusion” to alphabetization and the encyclopedic tradition.

This leads us to “Hapax Legomena”, where there are seven films, only three are presented.  According to Frampton, each film is interrelated but are detachable parts and my favorite shorts included on the Blu-ray and possibly the most accessible.

For “nostalgia” (the first film of “Hapax Legomena), this film is a story about Hollis Framptons photos.  Narrated by artist Michael Snow, each photo has a story behind it, and while Snow is telling the story, we see the photos being burned.

The second film of “Hapax Legomena” is “Poetic Justice”, a half hour film about a filmed script.  What we see on the table is a cactus, a cup of coffee and a script/screenplay and the pages changes.

The third film of “Hapax Legomena” featured is “Critical Mass” , this is a witty film made during the time that Hollis Frampton was teaching at the State University of New York, Buffalo.  He brought in two individuals who are great at improvisation and can be volatile in a story about a couple who live together, but the young man disappears for two days and returns.  What we get is a 25-minute argument but edited in a way that that each word is repeated and audio that plays in black and then we see video in which the video, similar to the audio is cut and replayed throughout the argument.

And the final films are “The Films of Magellan”, possibly the most complex work of Hollis Frampton that was not completed.  Broken down to “The Birth of Magellan”, “Straits of Magellan” and “Death of Magellan”, this was part of the work that was done by Frampton, worked on since 1972 up to 1984, the year he died.

Footage that ranges from a flickering cloud, a watch swinging back and forth to images of a naked woman walking, stretching, fiery embers leaving and returning and many more visual images.  These were films designed to be shown via a cycle of films for 369 days (or 371 days) with differing lengths, each day.  While the film ends with “Gloria!”, it was not supposed to be the final film but it was the latest film of the Magellan cycle to be completed.

But the film is not easy to be explained,  but for Frampton, the films were a study of the way humans perceive experiences, the relation of the mind and the “metahistory of film”.

And with that being said, this leads me to the question that I have been asked, “is ‘A Hollis Frampton Odyssey’” worth buying?  And it’s important to note that as a cineaste, I am intrigued and fascinated by avante garde works of filmmakers in various parts of the world.  I’m intrigued by the most abstract, complex, comprehensible and incomprehensible work, even if these films range from the 1890′s to the present, I watch these films to observe of what was the intention of the filmmaker.  Granted, earlier works were done for the sake of experimenting with new technology but with Hollis Frampton, this is an intellectual that saw life much differently than the average person.

He made his films not following any traditional path but creating films of his own accord, but with purpose.

I often hear a joke about artistic, avante-garde films that if one would throw a splatter paint on the wall, avante-garde cinema fans will have an interpretation of it.  And that is how I enjoy Frampton’s films, like a painting that I can sit and observe for many minutes at an art museum, “A Hollis Frampton Odyssey” is a release where one can sit and observe and come up with their own opinion.

And if Hollis Frampton was alive today and was able to continue his work, using today’s technology, I often wonder what kind of work he would create.  Similar to Chris Marker, Frampton would later incorporate digital artwork in his films, but with today’s Internet age, I wonder if he would be satisfied with the human experience through his film “Magellan” if completed.

I think of these things and once again, I’m rather fascinated by avante-garde films, may it be comprehensible, accessible, boring or fascinating, and yes…even incomprehensible and complex.  And by saying that, I know these type of films are not for everyone.

For Frampton’s films, it’s about illusionist complexity as a whole and Frampton even said, “the trained eye and the trained mind will respond in the way that he indicates”.  Some may find these films redundant, didactic or effete, but others may find it complex, surreal and cerebral.  As a fan of avante-garde films, I was fascinated by its complexity and audaciousness.  These films are about how you interpret it on your own, through your own personal experience.

Overall, “A Hollis Frampton Odyssey” is a wonderful collection of the best of Hollis Frampton (not a release of his complete work), but it’s a long awaited release that Frampton fans have wanted to see for a very long time.  Not only do you get 24 films but you also get a good number of include remarks by Frampton and fascinating special features as well.  On Blu-ray, as expected, various footage ranges in quality and for now, this Blu-ray release is the definitive version of Frampton’s work in one collection.

For avante-garde and Hollis Frampton fans, “A Hollis Frampton Odyssey” is highly recommended!

 

 

Late Spring – The Criterion Collection #331 (a J!-ENT Blu-ray Disc Review)

“Late Spring” is a fantastic film that captures the changing of Japanese family life and the clash between traditional and modern perspectives.  But it’s also a film, among many other Ozu films that shows us why Yasujiro Ozu is one of the greatest filmmakers of all time.  Captivating and powerful, “Late Spring” is a magnificent portrayal of the changing Japanese family and a film that I highly recommend!

Image courtesy of ©1949 Shochiku Co., Ltd. 2012 The Criterion Collection. All Rights Reserved.

TITLE: Late Spring – The Criterion Collection #331 (Banshun/晩春)

MOVIE RELEASE: 1949

DURATION: 108 Minutes

DVD INFORMATION: B&W, 1:33:1 Aspect Ratio, Monaural, Subtitles: English SDH

COMPANY: Janus Films/The Criterion Collection

RELEASE DATE: April 17, 2012

Directed by Yasujiro Ozu

Based on the novel “Chichi to Musume” by Kazuo Hirotsu

Screenplay by Kogo Noda, Yasujiro Ozu

Music by Senji Ito

Cinematography by Yuharu Atsuta

Edited by Yoshiyasu Hamamura

Art Direction by Tatsuo Hamada

Starring:

Chishu Ryu as Shukichi Somiya

Setsuko Hara as Noriko Somiya

Yumeji Tsukioka as Aya Kitagawa

Haruko Sugimura as Masa Taguchi

Hohi Aoki as Katsuyoshi

Jun Usami as Shuichi Hattori

Kuniko Miyake as Akiko Miwa

Masao Mishima as Jo Onodera

Yoshiko Tsubouchi as Kiku

Yoko Katsuragi as Misako

Toyo Takahashi as Shige

Jun Tanizaki as Seizo Hayashi

Ichiro Shimizu as Takigawa’s master

Youko Benisawa as Teahouse Proprietress

Manzaburo Umekawa as Shite

Nobu Nojima as Waki

One of the most powerful of Yasujiro Ozu’s family portraits, Late Spring (Banshun) tells the story of a widowed father who feels compelled to marry off his beloved only daughter. Eminent Ozu players Chishu Ryu and Setsuko Hara command this poignant tale of love and loss in postwar Japan, which remains as potent today as ever—and a strong justification for its maker’s inclusion in the pantheon of cinema’s greatest directors.

Yasujiro Ozu is one of the world’s beloved directors.  Having made many films since the 1920′s up to his final film “An Autumn Afternoon” in 1962, his works have been appreciated by viewers and critics for his family comedies but also his serious family storylines such as “Early Spring”, “Early Summer, “Tokyo Story”, “Floating Weeds”, “The End of Summer” (to name a few).

The Criterion Collection has been one of the major forces in America of bringing Ozu’s films stateside and now they are giving Ozu films the high definition treatment on Blu-ray starting with his 1949 drama film “Late Spring” (known in Japan as “Banshun”).

Based on the short novel “Chichi to Musume” (Father and Daughter) by Kazuo Hirotsu and featuring a collaboration with screenwriter Kogo Noda, “Late Spring” was written and shot during the Allied Powers Occupation of Japan and undergone many changes to fit official censorship requirements.

The film would star Chishu Ryu (who would star in other Ozu films sucha s “Early Summer”, “Tokyo Story”, “An Autumn Afternoon” and the popular “Tora-san” films of the ’70s and ’80s) and Setsuko Hara (“Early Summer”, “Tokyo Story”, “Late Autumn”).

Over 60-years since “Late Spring” was shown in theaters and winning the prestigious Kinema Jumpo critic’s award for “Best Film”, “Best Director”, “Best Screenplay” and “Best Actress”, the film has resonated strongly with Ozu fans all over the world.  Many have regarded “Late Spring” as one of Ozu’s masterpiece and the film has been listed in many “Greatest Films of All Time” polls.

“Late Spring” is also a film that showcases Japanese family tradition and the importance of marriage, but also how Japan would face the issue of tradition and modern views towards marriage and also divorce.  But for Ozu fans, who have watched his silent films and have seen the development of the Japanese family and most importantly Ozu’s honest portrayal of the Japanese family and the sacrifice of the parents for their children (and vice versa).

“Late Spring” is one of those honest films featuring wonderful performances by both Chishu Ryu and Setsuko Hara, as the father and daughter.

The story features a widower, Professor Shukichi Somiya (played by Chishu Ryu) who has a 27-year-old unmarried daughter named Noriko (played by Setsuko Hara).  In Japan, most women are usually married by their early ’20s but because of World War II and the fact that Noriko had ailing health from the work she had to do years earlier, if anything, Professor Somiya had let Noriko live her life and be happy.

And for Noriko, taking care of the household needs and taking care of her father makes her happy.

One day, as Noriko goes to Tokyo to do some shopping, she runs into her father’s friend, Professor Jo Onodera (played by Masao Mishima), who is a widower like her father but has remarried.  For Noriko, she sees remarriage as something as a bit distasteful and even jokes by calling Professor Onodera “filthy”.  But Onodera understands Noriko and both go back to Noriko’s home, so both Professors can talk to each other.

While Professor Onodera talks to Somiya, he brings the topic of marriage up, if there are plans of Noriko getting married.  And it’s something that Somiya has never thought about, as he feels that he never really pressured her to marry.  If anything, he just wants her to be happy.

But when Somiya’s sister Masa (played by Haruko Sugimura) convinces him that it’s time that Noriko gets married, Somiya realizes that it’s probably the right thing to do.  Especially now that he is getting older, Noriko doesn’t have a job and if anything, he wants to make sure she is taken care of.  And for Noriko’s Aunt Masa, she already has a man named Satake that they can have Noriko meet and marry.

And when Aunt Masa tries to tell Noriko that it’s time for her to marry, she doesn’t want to hear anything of it.  But then she tells him that she is trying to arrange for her father to marry a young widow named Mrs. Miwa (played by Kuniko Miyake) which upsets Noriko.

When both Noriko and her father attend a Noh performance, when she sees her father greeting Mrs. Miwa, immediately Noriko becomes jealous. As she goes to visit her friend Aya (who is divorced), she is also told by her friend that it’s time for her to get married which frustrates Noriko even more than everyone is trying to push her to marriage.  As for Noriko, she’s happy the way things are…taking care of her father and being happy.

And when she confronts her father about it, he tells her that he intends to marry Mrs. Miwa and that she should get married.  For a modern woman, will Noriko choose to marry the man that she has been arranged to meet?  And can she bare the thought of her father being remarried?

VIDEO:

“Late Spring – The Criterion Collection #331” is presented in Black and White (1:33:1 aspect ratio). Having owned the 2006 Criterion Collection DVD release, first it is important for me to say that the film does have its share of scratches and film damage (nothing that prevents a viewer from enjoying the film).  While the film does have scenes with missing frames and also occasional flickering, the film does look improved over the 2006 DVD release with much better contrast with the white and grays, but also the black levels are nice and deep.

According to the Criterion Collection, this high-definition transfer was created on a Spirit Datacine from a 35mm fine-grain master positive and a 35mm theatrical print. Thousands of instances of dirt, debris, scratches, splices, and warps were manually removed using MTI’s DRS while Image System’s Phoenix was used for small dirt, grain, jitter, and flicker.

AUDIO & SUBTITLES:

“Late Spring” is presented in Japanese monaural (LPCM 1.0).  Compared to the 2006 DVD release, there appears to be much more clarity when it comes to dialogue.  While there are some moments of audio distortion on certain scenes, nothing detrimental and noticeable unless you are really looking for it.

According to the Criterion Collection, the original soundtrack was remastered at 24-bit from the film’s optical track. Viewers may notice significant distortion inherent in the original surviving soundtrack materials. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.

SPECIAL FEATURES:

“Late Spring – The Criterion Collection #331″ on Blu-ray comes with the following special features:

• Audio Commentary - Featuring audio commentary by Richard Pena, program director of New York’s Film Society of Lincoln Center.  This was the original audio commentary from the 2006 DVD release and quite informative as Pena is very familiar with Ozu’s work.
• TOKYO-GA - (92 minutes) Wim Wenders 1985 documentary and tribute to Yasujiro Ozu, the documentary features interviews with Chishu Ryu and cinematographer Yuharu Atsuta.

EXTRAS:

“Late Spring – The Criterion Collection #331″ comes with a 22-page booklet with the following essays: “Home with Ozu” by Michael Atkinson (Village Voice writer), Ozu and Setsuko Hara by Donald Richie (author of many books on Japanese cinema) and Ozu and Kogo Noda, an excerpt from Yasujiro Ozu: The Person and His Art (1964) from Ozu, translated for the original 2006 DVD release of “Late Spring”.

As a person who loves and enjoys Yasujiro Ozu films, “Late Spring” has always been a favorite because of how it confronts Japanese perspective on the traditional marriage but now with a modern perspective, different from Ozu films which relied heavily on themes of the traditional Japanese family.

From the beginning of the film, we realize that the Somiya family are different compared to other families shown in previous Ozu films.  For one, Professor Somiya had not shown great pressure towards his daughter Noriko, possibly because she does so much in taking care of him and the house but yet remains very happy.  The other reason is because Noriko had health problems during World War II and as a father, having lost a wife, the last thing he wanted was to lose his only child and I believe that was his drive for not putting too much pressure on her.  She’s happy and that’s all that mattered.

But of course, what seemed natural to Professor Somiya, the more he started to see how others viewed Noriko being single at home.  This is where the traditional Japanese culture clashes with modernism.  In “Late Spring”, we see Aunt Masa giving her brother and also Noriko the third degree about being married.  It’s her duty to be married and be a happy wife.  But for Noriko, she’s happy the ways she is.

And this is where Noriko is unlike previous Japanese wives featured in Ozu’s films.  She is absolutely beautiful, stylish (in Western wear) and is not wearing a kimono.  She has her set way of thinking, the freedom to think that way as it has gone unchallenged until now…when it comes to marriage.  And with someone who is set in her ways…what can her father do?

And thus, the storyline becomes quite intriguing when we are told that Noriko’s father may be getting remarried to another woman.  And this is enough to set the happy Noriko off.  Remarriage has always been seen indecent to her but from this point on, we see the change that takes place between both characters.  The father submitting to the classic Japanese tradition, even though he was brought up in that tradition of arranged marriage, he himself had seen how his wife reacted to it earlier on.  So, as much as he wants Noriko to find the right man that she wants to marry, the pressure from his sister and others have led him to lead Noriko in the path to marriage.

And for Noriko, we eventually see the change in her, as her father getting married leads her to realize that she may need to get married now, because with her father having a new wife, perhaps she will no longer be needed.

If anything, it’s an intriguing juxtaposition of the Japanese family in 1949.  From traditional to modern, and with the modern, we see Professor Onodera having remarried, while Noriko’s good friend Aya has gotten a divorce (which was made legal in Japan a year prior).  And most intriguing is how Ozu manages to confront these changes in Japanese culture when it comes to marriage.

Bare in mind, postwar changes were in store for Japan after World War II and the most affected were women.  The social status of women was them being subservient towards their husband and after World War II, women not only were granted the right to a divorce, they were also allowed to join the workforce.  So, we started to see more freedom for women after World War II and the importance of family started to decline.  In fact, what I enjoy about “Last Spring” is how it is a time stamp of Japanese culture and the changing of family life which Ozu would feature throughout his career through his films.  And for those familiar with Japanese culture today, from the shrinking of the Japanese population to a country with the lowest birth rate in the world, the Japanese family has changed tremendously and we witness those changes through Ozu’s films.

As “Late Spring” will be an introduction to Ozu’s work for those viewing Criterion Collection films primarily on Blu-ray, another fascination that I have towards Ozu films is his camera technique, using low angle shots and also using non-traditional cinematic methods by avoiding panning, tracking and crane shots.  It’s what separates Ozu from Kurosawa and that the reliance of Ozu to use static compositions and also his use of pillow shots used in “Late Spring” and various shots of symbolism which intrigues me each time I read various historians and critics share their own perspective of what they think those shots are all about.

And as mentioned, the efficacy of this film relies on its characters.  It’s one thing to have a talented Chishu Ryu to play the father, but it’s Setsuko Hara, who absolutely shines in this film with her energy followed by her change of emotion.  For those who watch a lot of early Japanese cinema, you don’t see actresses such as Setsuko Hara play a character and is able to captivate the audience.

Overall, “Late Spring” is a fantastic film that captures the changing of Japanese family life and the clash between traditional and modern perspectives.  But it’s also a film, among many other Ozu films that shows us why Yasujiro Ozu is one of the greatest filmmakers of all time.  Captivating and powerful, “Late Spring” is a magnificent portrayal of the changing Japanese family and a film that I highly recommend!

 

A Night to Remember – The Criterion Collection #7 (a J!-ENT Blu-ray Disc Review)

As we approach the 100th year anniversary of the sinking of the RMS Titanic, the Criterion Collection Blu-ray release of “A Night to Remember” is absolutely magnificent!  Not only does the film look incredible on Blu-ray, there are a number of special features that also make this release quite educational,  informative and worth owning.  “A Night to Remember” is highly recommended!

Image courtesy of ©1958 Carlton Film Distributors Limited. 2012 The Criterion Collection. All Rights Reserved.

TITLE: A Night to Remember – The Criterion Collection #7

MOVIE RELEASE: 1958

DURATION: 123 Minutes

DVD INFORMATION: B&W, 1:66:1 Aspect Ratio, Monaural, Subtitles: English SDH

COMPANY: Janus Films/The Criterion Collection

RELEASE DATE: March 27, 2012

Based on the book by Walter Lord

Directed by Roy Ward Baker

Screenplay by Eric Ambler

Executive Producer: Earl St. John

Produced by William MacQuitty

Music by William Alwyn

Cinematography by Geoffrey Unsworth

Edited by Sidney Hayers

Casting by Weston Drury Jr.

Art Direction by Alex Vetchinsky

Costume Design by Yvonne Caffin

Starring:

Kenneth More as Second Officer Charles Herbert Lightoller

Ronald Allen as Mr. Clarke

Robert Ayres as Maj. Arthur Peuchen

Honor Blackman as Mrs. Liz Lucas

Anthony Bushell as Capt. Arthur Rostron (Carpathia)

John Cairney as Mr. Murphy

Jill Dixon as Mrs. Clarke

Jan Downs as Mrs. Sylvia Lightoller

James Dyrenforth as Col. Archibald Gracie

Michael Goodliffe as Thomas Andrews

Kenneth Griffith as Wireless Operator John Phillips

Harriette Johns as Lady Richard

Frank Lawton as Chairman J. Bruce Ismay

Richard Leech as First Officer William Murdoch

David McCallum as Assistant Wireless Operator Harold Bride

Alec McCowen as Wireless Operator Harold Thomas Cottam (Carpathia)

Tucker McGuire as Mrs. Margaret Brown

John Merivale as Robbie Lucas

Ralph Michael as Mr. Yates

Laurence Naismith as Capt. Edward John Smith

Russell Napier as Capt. Stanley Lord (Californian)

Redmond Phillips as Mr. Hoyle

George Rose as Chief Baker Charles Joughin

Joseph Tomelty as Dr. William O’Loughlin

Patrick Waddington as Sir Richard

On April 14, 1912, just before midnight, the “unsinkable” Titanic struck an iceberg. In less than three hours, it had plunged to the bottom of the sea, taking with it more than 1,500 of its 2,200 passengers. In his unforgettable render­ing of Walter Lord’s book of the same name, the acclaimed British director Roy Ward Baker depicts with sensitivity, awe, and a fine sense of tragedy the ship’s last hours. Featuring remarkably restrained performances, A Night to Remember is cinema’s subtlest and best dramatization of this monumental twentieth-century catastrophe.

As the world prepares to celebrate the 100th Year Anniversary of the tragic sinking of the RMS Titanic on April 12th, weeks leading up to the anniversary include National Geographic’s photos of the Titanic as seen in the ocean today, James Cameron prepares to unveil his 3D version of his “Titanic” film and the Criterion Collection will be re-releasing a newly restored version of the classic 1958 film, “A Night to Remember” on Blu-ray and DVD.

“A Night to Remember” is regarded as a film that was made when there were survivors of the Titanic still living and it all was inspired by a film adaptation of Walter Lord’s non-fiction book.

For advertising employee/writer Walter Lord, he has always been fascinated with the RMS Titanic since he was a young child.  In 1955, Lord wrote decided to write a book on the RMS Titanic, the largest ship at its time which hit an iceberg in 1912 and sank.  Of the 2,200+ survivors, over 700 were saved and Lord was able to interview dozens of survivors for his book and the details that took place of what happened during the night of April 14, 1912.

From the time Lord wrote his book, nothing has been written about the Titanic since 1913.  In 1953, there was a melodrama from Twentieth Century Fox titled “Titanic” but Lord, who has always been fascinated by the stories of what happened during the night of April 1912, wanted to prioritize his story of the Titanic on historical documents and first-hand accounts of survivors.  A minute-by-minute record of what happened and not make a drama.

Not long after the book was published, the book received its adaptation and filming began in the United Kingdom with Roy Ward Baker (“Asylum”, “The Monster Club”) taking on the directorial role and a screenplay written by Eric Ambler (“The Cruel Sea”, “The Purple Plain”) and produced by William MacQuitty (“Street Corner”, “The Happy Family”, “The Informers”).

The film crew was very concerned with authenticity that they used the actual blueprints of the Titanic to recreate the sets and survivors such as the Titanic’s fourth officer Joseph Boxhal and ex-cunard Commodore Harry Grattidge worked as technical advisors.  The film premiered in the UK and the US in 1958 and won a Golden Globe Award for “Best Foreign Film” and received mostly all positive reviews from critics.

“A Night to Remember” is a film that doesn’t focus on any primary characters but focuses on what took place on the fateful night the Titanic sunk and over 1,500 died.  The film highlights how people felt they were not in any harm because the Titanic was thought of as unsinkable.

The film features the Titanic’s crew who were happy to be part of major liner and we see how the Titanic had levels for different classes of people on the voyage.  The rich were on top and had a bar, listened to music and gambled.  We see the middle/lower-class people in the middle-deck just enjoying the ride and making their own music.  And then we see the various crew members such as the engineers, the cooks and others who worked at the Titanic doing their job.  But around 30-40 minutes into the movie, then we see what takes place after the RM Titanic hits an iceberg and how the Captain and the creator of the RMS Titanic learned not long after the crash of their fate and how they had an hour and half to evacuate people off the ship.  The problem is that they only had emergency lifeboats that could hold around 1,200 people but there were over 2,200 people onboard the Titanic.

So, we see the evacuation process especially how the crew handled women and children only and we see also see three different settings with the crew and the people of the Titanic but also the crew of the RMS Carpathia (who received the distress call from the crew of the Titanic and came in to rescue any survivors) who received the distress call but were 4 hours away and a ship, the SS Californian (note: During a U.S. senate investigation, an investigation showed that the crew of the Californian were only 19 miles away from the Titanic but the Captain who was asleep at the time when receiving reports did not take action because he did not believe it was the Titanic sending the distress.  The Californian did search for survivors after they learned the Titanic did sink and saw the Carpathia racing into help the survivors.) which were nearby but failed to respond until it was too late.

A few people that were shown throughout the film before the accident are then featured for a short while as we see how they survived (or didn’t survive) the accident and the chaos that ensued during that night.  But like Walter Lord’s book, a film that focuses on the night of April 14, 1912 and the events that took place on the Titanic before and after it hit an iceberg.

VIDEO:

“A Night to Remember” is presented in Black and White (1:66:1 aspect ratio).  Having owned the earlier release of “A Night to Remember”, watching it on Blu-ray was fantastic!  The clarity of the film is absolutely amazing and dare I say, it looks pristine!  You can see details from the clothing to even the captain’s beard, that is how detailed this film looks.  Black levels are nice and deep and the white and grays are exceptionally well-contrasted.   There is no sign of blurring nor does it look aged, like its older Criterion Collection DVD version.

I was blown away as how good this film looks in HD (considering the film is over 50-years old) and obviously, this is the definitive version of the film to own at this time

According to the Criterion Collection, this new high-definition digital transfer was created in 2K resolution on an ARRI Laser Scanner from the original 35 mm camera negative, which was restored by the Perivale Archive for ITV Studios Global Entertainment.  Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI’s DRS and PixelFarm’s PFClean, while Image Systems’ DVNR was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

The audio for “A Night to Remember” is presented in LPCM monaural. Dialogue and music is absolutely clear and I detected no hiss or any audio problems whatsoever.

According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical soundtrack positive. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.

SPECIAL FEATURES:

“A Night to Remember – The Criterion Collection #7″ on Blu-ray comes with the following special features:

• Audio Commentary - Featuring audio commentary recorded in 1995 featuring Don Lynch (author) and Ken Marschall (illustrator) of “Titanic-An Ilustrated History”.  The duo talks about differences that were learned from recent discoveries of the Titanic, class distinction on the ship, the Californian controversy, how big a gash was on the site of the Titanic, the decision making of the crew, was their a mass panic?, the survivors that Lynch spoke to and more. A very enjoyable and informative audio commentary for those interested in the Titanic.
• The Making of “A Night to Remember” - (57:49) The making of “A Night to Remember” with interviews with original author Walter Lord, producer Walter McQuitty about his experiences when he saw the Titanic being built to making the film, the challenges they faced during filming and the success the film received in the UK and the US.
• Eva Hart: Survivor -  (23:15) A 1990 interview conducted by Ray Johnson with one of the last living survivors who rode the Titanic with her parents, Eva Hart (Hart would pass away in 1996) reminisces of riding on the Titanic and the events leading up to her and her mother being put into a boat.  Hart talks about life after the “Titanic” for her and her mother and her feelings of the Titanic.
• En Natt Att Minnas – (32:25) A 1962 Swedish special celebrating the 50th Anniversary of the sinking of the Titanic with interviews with a few survivors.
• The Iceberg That Sank the “Titanic” – (48:41) A BBC Natural World special about the Titanic and how an iceberg would sail so far into the Atlantic and also examining the collision between the Titanic and the iceberg.
• Trailer – (3:48) The theatrical trailer for “A Night to Remember”.

EXTRAS:

“A Night to Remember – The Criterion Collection #7″ comes with a 24-page booklet with the essay “Nearer, My Titanic, To Thee” by Michael Sragow plus archival photographs.

Back when Criterion Collection released “A Night to Remember”, I remember really wanting to watch this film for so many years and I know that for most people, they tend to compare the 1958 film “A Night to Remember” and the 1997 film “Titanic” and debate which film was better.  Personally, I enjoyed James Cameron’s t“Titanic” when it was first released in theaters and watched it multiple times.   And having watched “A Night to Remember”, I equally enjoyed it.

These are two films about the sinking of the RMS Titanic but in essence, they are two different films.

With James Cameron having modern technology at the time, and a film with the duration of 3 hours, not to mention an incredible amount of money budgeted to make the film, the film is more romantic as Cameron’s film focused on two people who meet, fall in love while riding the Titanic.  But most impressively, the use of technology of the time to showcase the actual accident and splitting of the Titanic.

With that being said, “A Night to Remember” was an incredible film when it was released.  A film that would incorporate actual footage of the Titanic from 1912 to detailed information from the survivors, nothing like it had been done ever before.  In fact, Before Walter Lord wrote his book, there was nothing written about the Titanic in over 40-years since 1912.

There was a melodrama film titled “Titanic” in 1953 but Lord captured in his book a minute-by-minute detail courtesy of the survivors he spoke to and the documents he was able to obtain.  “A Night to Remember” used the actual blueprints of the Titanic as well.  The film was not much about the characters but the ship and the people who were on the Titanic, the Carpathia and the Californian.

The film that would pay respects to those who perished but also to acknowledge the positive that came out of this accident, in terms of rules and regulations and acknowledging that there was quite amount of human error that led to the Titanic’s sinking.  Warnings of icebergs that were not followed up on, a ship nearby who saw the emergency rockets but didn’t take action until hours after the ship had sunk and a ship four hours away that came, although the damage was done and there were an incredible number of people who lost their lives.

It’s obvious that James Cameron’s big budget film may have been inspired by “A Night to Remember” as certain scenes tend to have some resemblance.  But for the most part, the two films are quite different from one another.

“Titanic” focused more on the dramatic aspect and then using modern special effects of the sinking/breaking of the Titanic while “A Night to Remember” focused on the Titanic and its crew and people who were trying to survive, escape or just accepted their fate as well as the crew of the Carpathia and Californian. While the special effects were solid for a film at that time and acting was very well done, what I enjoyed about “A Night to Remember” is that it doesn’t try to focus on a few characters, everyone on the ship is part of the film.

As for the Blu-ray release, as mentioned in my review of the video portion, I was in awe of how pristine this film looks.  Compare this to the older Criterion Collection DVD and while that DVD was good, it does look of a film made in 1958.   Watch this new restoration and it looks incredible!  You can see the detail of clothes, the ship, the hair on the captain’s beard to even the glimmer of ice from the iceberg that had fallen on the ship.    The Blu-ray of the film features so much detail and the film looks so good (considering it is over 50-years-old) that I was very impressed.

Also, unlike the original DVD which included commentary and the making of, “A Night to Remember” on Blu-ray includes a 1990 interview with survivor Eva Hart, a Swedish 50th Anniversary Titanic special ala “En Natt Att Minnas” and also a BBC Natural Worlds special on the Titanic and the iceberg. The included booklet with archived photos is also a wonderful addition and quite simply, this is the definitive version of “A Night to Remember” that people should own!

Overall, as we approach the 100th year anniversary of the sinking of the RMS Titanic, the Criterion Collection Blu-ray release of “A Night to Remember” is absolutely magnificent!  Not only does the film look incredible on Blu-ray, there are a number of special features that also make this release quite educational,  informative and worth owning.

“A Night to Remember” is highly recommended!

 

David Lean Directs Noel Coward – The Criterion Collection #603-606 (a J!-ENT DVD Review)

For any movie fan who have been captivated by the work of Noel Coward and David Lean, the “David Lean Directs Noel Coward” is one of those must-own Blu-ray or DVD sets that a cineaste and fans of British cinema would want in their collection.   You get the best versions of these films to date and fantastic special features included as well.

Image courtesy of © 2012 The Criterion Collection. All Rights Reserved.

TITLE: David Lean Directs Noel Coward – The Criterion Collection #603-606

FILM RELEASE DATE: In Which We Serve (1942), The Happy Breed (1944), Blithe Spirit (1945) and Brief Encounter (1945)

DURATION: In Which We Serve (114 Minutes), The Happy Breed (111 Minutes), Blithe Spirit (96 Minutes) and Brief Encounter (86 Minutes)

DVD INFORMATION: Black and White, Color, Monaural , 1:37:1 Aspect Ratio

COMPANY: Janus Films/The Criterion Collection

RELEASED: March 27, 2012

In the 1940s, the wit of playwright Noël Coward and the craft of filmmaker David Lean melded harmoniously in one of cinema’s greatest writer-director collaborations. With the wartime military drama sensation In Which We Serve, Coward and Lean (along with producing partners Ronald Neame and Anthony Havelock-Allan) embarked on a series of literate, socially engaged, and enormously entertaining pictures that ranged from domestic epic (This Happy Breed) to whimsical comedy (Blithe Spirit) to poignant romance (Brief Encounter). These films created a lasting testament to Coward’s artistic legacy and introduced Lean’s visionary talents to the world.

The Criterion Collection’s release of “David Lean Directs Noel Coward” is possibly one of the most exciting box sets that I have been wanting to see in America for quite some time.

A legendary playwright, writer, filmmaker, actor, you name it…Noel Coward has probably done it.  And it’s one thing that has made fans of his work so appreciative of this individual is because he brings so much life into his work.

As for David Lean, he’s already considered a legendary filmmaker.  From directing “Lawrence of Arabia”, “The Bridge on the River Kwai”, “A Passage to India”, “Doctor Zhivago” to name a few…  Both Noel Coward and David Lean are legendary for their highly acclaimed work in their oeuvre.

But you go further back to when David Lean first became a filmmaker, it’s because of Noel Coward, he was given the opportunity.

For both men, it would begin during World War II.  Noel Coward who wanted to do something for the British public during the war and the fact that he was raised with a grandfather who was a Captain of the Royal Navy, Coward so much wanted to do something during wartime.  Having worked with British Intelligence, there was no doubt that Coward wanted to do more.

And that opportunity would come in 1942 with the release of his British patriotic (and propaganda) film “In Which We Serve”.  The film would feature Noel Coward as a lead actor but since he is a man that was only focused on directing certain parts of the film and action wasn’t his forte, what best than to bring highly regarded editor David Lean.  David Lean got his first opportunity to co-direct the film with Noel Coward and both managed to create a film that was well-liked, praised very well not just in Britain but also in the United States and it earned Coward an Academy Award for “Outstanding Production Achievement).

And this would be the beginning of the working relationship between Noel Coward and David Lean (there is also a third man included in this and that is cinematographer Ronald Neame).

The two would once again reunite for “This Happy Breed”.  A film adaptation based on Noel Coward’s 1939 play and for those who were enamored with Noel Coward’s 1933 film “Cavalcade” (directed by Frank Lloyd) about an upperclass British family from 1899 through 1933 (which covered the family through the Second Boer War, the death of Queen Victoria, the sinking of the Titanic and World War I), “This Happy Breed” would feature on a working class British family during 1919 through 1939.

As Coward was busy with his plays at the time, it gave David Lean the opportunity to direct his first solo film.  “This Happy Breed” would also give Lean the chance to work (and experiment) with three-strip Technicolor and once again, the reception was favorable for this second collaboration.

The third collaboration between David Lean and Noel Coward was not as smooth as the first two films.  Noel Coward wanted his comedy “Blithe Spirit” to become a film and David Lean, known as a serious person was reluctant in directing a comedy. While the film at the time was criticized for a film about “death” (or deceased love ones reappearing as ghosts), not many were wanting to see a film about that subject matter while many were dying during World War II.

Needless to say, both men have differing opinions on both films but both agreed that they should work again for another, more realistic film and that would “Brief Encounter”.

The film would captivate audiences as it would win the Grand Prize, the “Palme d’Or” at the 1946 Cannes Film Festival.  The film would also earn Celia Johnson an Academy Award nomination for “Best Actress”.  Recognized as one of the top 100 British Films of All Time (#2 in the British Film Institute Poll), “Brief Encounter” would solidify David Lean’s filmmaking career (Noel Coward was already well-known worldwide).

And this popularity would lead David Lean to work on Charles Dickens’ “Great Expectations” and “Oliver Twist” and many other well-known films for the next three decades.  But the popularity gained from “Brief Encounter” would lead both David Lean and Noel Coward to bigger things and the film would be their Magnum opus and their final collaboration together.

These four beloved films would receive new restoration in 2008 courtesy of BFI National Archives and in 2012, receive a special high definition remastering for Blu-ray release.

The Criterion Collection will be releasing these four films as part of the “David Lean Directs Noel Coward” Blu-ray and DVD Box Sets featuring many special features paying tribute to Noel Coward and also David Lean but most of all, paying tribute to their collaboration for these four films.

To read our review for the four films in the DVD box set, please click on the film:

In Which We Service

This Happy Breed

Blithe Spirit

Brief Encounter

[Note: The review is for the "David Lean Directs Noel Coward" DVD Box Set]

There is no doubt that fans of Noel Coward and David Lean have been highly anticipating the “David Lean Directs Noel Coward” box set release.

These four films look absolutely incredible thanks to the restoration effort by BFI National Archive and watching these films today, no matter if they are over 70-years old they look fantastic.  And if it’s one thing to look so great on DVD, I believe that the Blu-ray release of the “David Lean Directs Noel Coward” box set is fantastic.

But video and audio quality aside, the reason why I enjoyed this box set is because not only do you get four magnificent films but with each disc down to the booklet, the entire set pays its respect to both Noel Coward and David Lean.

From Barry Day’s insightful knowledge to the collaboration of both men, to documentaries featuring both men, interviews with cinematographer Ronald Neame who worked on all four films and many other special features included, the “David Lean Directs Noel Coward” is the definitive collection for any cineaste who enjoyed these four films.

Overall, for any movie fan who have been captivated by the work of Noel Coward and David Lean, the “David Lean Directs Noel Coward” is one of those must-own Blu-ray or DVD sets that a cineaste or fans of British cinema would want in their collection.   You get the best versions of these films to date and fantastic special features included as well.

The Criterion Collection’s”David Lean Directs Noel Coward” is highly recommended!

 

Blithe Spirit – The Criterion Collection #606 (as part of the “David Lean Directs Noel Coward” DVD Box Set) (a J!-ENT DVD Review)

Delightful, fun and charming!  While Noel Coward and David Lean had their own personal opinions about this comedy, of the four films in the Criterion Collection “David Lean Directs Noel Coward” set, this is a fun comedy that is highly entertaining and worth watching!

Image courtesy of © A Noel Coward Cineguild Production 1945. © 2012 The Criterion Collection. All Rights Reserved.

TITLE: This Happy Breed – The Criterion Collection #605 (as part of the “David Lean Directs Noel Coward” DVD Box Set)

FILM RELEASE DATE: 1945

DURATION: 96 Minutes

DVD INFORMATION: Color, Monaural , 1:37:1 Aspect Ratio

COMPANY: Janus Films/The Criterion Collection

RELEASED: March 27, 2012

Directed by David Lean

Adaptation by Anthony Havelock-Allan, David Lean, Ronald Neame

Produced by Noel Coward

Music by Richard Addinsell

Cinematography by Ronald Neame

Edited by Jack Harris

Casting by Irene Howard

Art Direction by C.P. Norman

Set Decoration by Arthur Taksen

Costume Design by Rahvis

Starring:

Rex Harrison by Charles Condomine

Constance Cummings as Ruth Condomine

Kay Hammond as Elvira Condomine

Margaret Rutherford as Madame Arcati

Hugh Wakefield as Dr. George Bradman

Joyce Carey as Violet Bradman

Jacqueline Clarke as Edith

Blithe Spirit, David Lean’s delightful film version of Noël Coward’s theater sensation (onstage, it broke London box-office records before hitting Broadway), stars Rex Harrison as a novelist who cheekily invites a medium (Margaret Rutherford) to his house to conduct a séance, hoping the experience will inspire a book he’s working on. Things go decidedly not as planned when she summons the spirit of his dead first wife (Kay Hammond), a severe inconvenience for his current one (Constance Cummings). Employing Oscar-winning special effects to spruce up Coward’s theatrical farce, Blithe Spirit is a sprightly supernatural comedy with winning performances.

Noel Coward and David Lean would embark on a four-year film collaboration and to celebrate this unique collaboration, the Criterion Collection will be releasing the four films that the two have worked together: “In Which We Serve” (1942), “This Happy Breed” (1944), “Blithe Spirit” (1945) and “Brief Encounter” (1945) as part of the “David Lean Directs Noel Coward” Blu-ray and DVD Box set.

With the success of the first two films of their collaboration, the next play that Noel Coward wanted to see a film adaptation was for his play “Blithe Spirit”.

Running in theatre as a play, it was a film that David Lean did not want to direct and film critics were a bit upset mainly because the theme of the film revolves around death and ghosts and during World War II, a film about dead people is not exactly what people would want to see in the theater.

But Lean was eventually cajoled into making the film but unlike “The Happy Breed” where setting was incorporated almost like it’s own character, Lean didn’t do as much research into the play and just worked on the film based on the script.

The biggest difference between the play and the film is that the main character was to be a middle-aged man, but in the case of the film adaptation, a reluctant Rex Harrison (“Tho Ghost and Mrs. Muir”, “My Fair Lady”, “Doctor Dolittle”, “Cleopatra”) was cast.  Also, cast for the film was Constance Cummings (“Movie Crazy”, “The Criminal Code”), stage actress Kay Hammond and Margaret Rutherford (“Murder at the Gallop”, “Murder Most Foul”, “Murder She Said”).

While the film did well in the box office, Noel Coward was not pleased by the outcome but felt that he and David Lean could work on a more realistic drama for their next film titled “Brief Encounter”.

“Blithe Spirit” is a film about novelist Charles Condomine (played by Rex Harrison) who wants to do research on the occult for his next crime novel.  So, he and his wife Ruth (played by Constance Cummings) and the Badman’s invites a medium named Madame Arcati (played by Margaret Rutherford) to their home to perform a seance.

Charles and the others feel that Madame Arcati is a weird woman and what she is doing is fake but during the seance, the spirit of Charles’ first wife, Elvira communicates with him.  Shocked by what he hears and no one else hearing it, he quickly stops the seance and sends Madame Arcati back home.

But when Charles is alone in his study, Elvira (played by Kay Hammond) shows up in physical form and communicates with her husband.  Surprised about her appearance, the two start having a conversation and when he tries to explain to his wife that he is talking with his deceased wife, she thinks he is going crazy.

Thinking that Charles is putting a bad prank in order to make her think that she is crazy, needless to say, their relationship starts to sour.  Even, Elvira doesn’t like Ruth and wonders why Charles would marry such a woman.

But when Ruth comes back and tries to make amends, Charles asks Elvira to prove that she is there and suddenly, Elvira lifts objects in their living room and scaring Ruth.  Ruth doesn’t want to believe it is true but she knows what she saw actually happened and now has gone back to Madame Arcati and ask her to send Elvira back to where she belongs.  But during their conversation and Madame Arcati feeling that Elvira has used her for her husband’s project, she refuses to help.

Meanwhile, unbeknown to Charles is that Elvira has messed with his automobile and planning to have her husband die.  But when Ruth borrows his car, she ends up getting into an accident and dies.

And as Elvira’s presence as a ghost starts to pester Charles (and he growing tired of her), a deceased Ruth is now taking her revenge on Elvira and beating her.

Growing tired of Ruth and her conversations with Charles, she wants to go back where she belongs.  So, the only way to do that is to bring Madame Arcati back into the home and try to send Elvira to where she belongs.  But will it work?

VIDEO & AUDIO:

“Blithe Spirit” is presented in a brand new high-definition digital transfer of the BFI National Archive’s 2008 restoration. With that being said, because this film has been restored, if you want the best version of this film to date, you definitely want to pick up the Blu-ray release of the “David Lean Directs Noel Coward” box set.

As for the DVD, “Blithe Spirit” is presented in technicolor (1:37:1 aspect ratio). It’s important to note that the film was shot in Technicolor.  Picture quality for an early Technicolor film is very good.  There are some specks that do show up a few times but for the most part, for something this old, it looks rather good on DVD and no film warping or any major blemishes.

As for the picture quality, according to Criterion, the picture has been slightly windowboxed (for the DVD version) to ensure the maximum image is visible on all monitors. The new high-definition digital transfer was created in at Technicolor Creative Services in London on a Spirit Datacine from the restoration internegative and was produced from the original YCM negatives.

As for the audio, the audio is presented in Monaural. Dialogue is crystal clear and I heard no hiss or any audio problems during my viewing.

According to the Criterion Collection, the monaural soundtrack was restored from a sound print made from the original nitrate track negative. Click, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.

English subtitles are presented in English SDH.

SPECIAL FEATURES:

“Blithe Spirit” comes with the following special features:

• Barry Day - (11:09) Featuring an October 2011 interview with Barry Day, author of “Coward on Film: The Cinema of Noel Coward” discussing “Blithe Spirit”.
• The Southbank Show: Noel Coward – (50:39) A 1992 episode of “The Southbank Show” hosted by Melvin Bragg and covers the life of Noel Coward and his career in theater, film and music.  Featuring archival footage and interviews with actors John Gielgud, Daniel Massey and John Mills.
• Trailer – (2:27) The original theatrical trailer for “Blithe Spirit”.

EXTRAS:

• 46-Page booklet – “David Lean Directs Noel Coward” comes with a 46-page booklet with essays for each film. For the “Brief Encounter” portion, the essays are all brand new. For “Blithe Spirit”, the essay “Present Magic” by Geoffrey O’Brien (editor-in-chief of “Library of America”) is included.

“Blithe Spirit” is a an interesting comedy directed by a filmmaker who had no desire to create a comedy film.

It’s been said before how actor Rex Harrison said that David Lean was a director with “no sense of humor” and even Noel Coward said an expletive of what David Lean had done to the film adaptation of his favorite play.

And sure, film critics felt it was bad taste to release a film about death when there was death happening by the thousands each day during World War II.  Needless to say, people at the time had their opinions about the film back then but for me, watching it today, I just felt it was a charmingly, fun comedy.

It’s a film that works because of its talents.  Margaret Rutherford as the wacky medium Madame Arcati simply steals the show as the medium who believes in her craft, while everyone thinks she is a bit nutty.  The others are more or less playing off each other as Charles Condomine (played by Rex Harrison) can’t believe his deceased wife Elvira (played by Kay Hammond) is back.  Both two bicker like no other and both start to realize if their marriage was even good.  Meanwhile, his latest wife Ruth (played by Constance Cummings) can’t believe him when he tells her that he is talking to Elvira and refuses to acknowledge it.

There is just a lot of humor within these four characters and having not seen this film, you just don’t know how things would progress when Elvira resides in the home.  Nor do you think she would do anything to ensure these two would die.  Granted, it could have been wicked, but Noel Coward handles these characters with humor and never seeks to make the storyline macabre.

Of the four films that David Lean and Noel Coward have worked on, this film despite it dealing with dead people is possibly the most humorous and fun film of them all.  Granted, “This Happy Breed” has its moments of fun and laughter but the film showcases a variety of emotions and David Lean really went all out in trying to make the film standout.  This film, David Lean was a reluctant as this type of film was not what he wants to do.  Fortunately, both men worked together one final time despite how they felt about “Blithe Spirit” the film and ended up creating one of the most memorable romantic films of all time with “Brief Encounter”.

As for the DVD, the new digital transfer looked fantastic and this older Technicolor film looked good, no blurriness, no fading and BFI did a wonderful job on the restoration.  Technicolor did a wonderful job in bringing this film to hi-def, but definitely if you want to experience the best version of this film, Blu-ray is the way to go.  Also, the special features are quite good on this DVD especially “The Southbank” retrospective on Noel Coward’s career.

Overall, “Blithe Spirit” is a enjoyable and fun comedy.  And considering that Noel Coward thought David Lean messed this film up and that David Lean was not so into making this film, somehow it ended up to be a fan favorite among cineaste who have followed David Lean’s work.  Mainly because “Blythe Spirit” is not a type of film he would go on to direct.  But he did and in the end, it actually worked despite the criticism people felt about the film at the time.

Delightful, fun and entertaining, “Blithe Spirit” is a wonderful film that is part of the Criterion Collection’s wonderful release of “David Lean Directs Noel Coward”.  Highly recommended!

 

This Happy Breed – The Criterion Collection #605 (as part of the “David Lean Directs Noel Coward” DVD Box Set) (a J!-ENT DVD Review)

A touching, charming and fascinating film!  “This Happy Breed” is David Lean’s film adaptation of Noel Coward’s play about a British family from 1919-1939 and the enjoyable and tragic moments the family has faced in their life.  A wonderful film included in the Criterion Collection Blu-ray and DVD set for “David Lean Directs Noel Coward”.

Image courtesy of © Carlton Film Distributors Limited 1942. © 2012 The Criterion Collection. All Rights Reserved.

TITLE: This Happy Breed – The Criterion Collection #605 (as part of the “David Lean Directs Noel Coward” DVD Box Set)

FILM RELEASE DATE: 1944

DURATION: 111 Minutes

DVD INFORMATION: Color, Monaural , 1:37:1 Aspect Ratio

COMPANY: Janus Films/The Criterion Collection

RELEASED: March 27, 2012

Directed by David Lean

Based on the Play by Noel Coward

Adaptation by Anthony Havelock-Allan, David Lean, Ronald Neame

Producer: Noel Coward

Cinematography by Ronald Neame

Edited by Jack Harris

Art Direction by C.P. Norman

Starring:

Robert Newton as Frank Gibbons

Celia Johnson as Ethel Gibbons

Amy Veness as Mrs. Flint

Alison Leggatt as Aunt Sylvia

Stanley Holloway as Bob Mitchell

John Mills as Billy Mitchell

Kay Walsh as Queenie Gibbons

Eileen Erkskine as Vi

John Blythe as Reg Gibbons

Guy Verney as Sam Leadbitter

Betty Fleetwood as Phyllis Blake

Merle Tottenham as Edie

David Lean brings to vivid emotional life Noël Coward’s epic chronicle of a working-class family in the London suburbs over the course of two decades. Robert Newton and Celia Johnson are surpassingly affecting as Frank and Ethel Gibbons, a couple with three children whose modest household is touched by joy and tragedy from the tail end of the First World War to the beginning of the Second. With its mix of politics and melodrama, This Happy Breed is a quintessential British domestic drama, featuring subtly expressive Technicolor cinematography by Ronald Neame and a remarkable supporting cast including John Mills, Stanley Holloway, and Kay Walsh.

Noel Coward and David Lean would embark on a four-year film collaboration and to celebrate this unique collaboration, the Criterion Collection will be releasing the four films that the two have worked together: “In Which We Serve” (1942), “This Happy Breed” (1944), “Blithe Spirit” (1945) and “Brief Encounter” (1945) as part of the “David Lean Directs Noel Coward” Blu-ray and DVD Box set.

With the success of the first film “In Which We Serve”, both director David Lean and cinematographer Ronald Neame knew that they wanted to work with Noel Coward once again.

But this time, Noel Coward was busy with his plays.   Since 1942, Noel Coward’s plays “This Happy Breed” (which was completed months before “World War II”), “Present Laughter” and “Blithe Spirit” were being performed.  Noel entrusted David Lean to direct his play “The Happy Breed” and this film would become the solo directorial debut for Lean.

Because Coward was playing the character Frank Gibbons on stage and was expecting to reprise the role on screen, Lean felt the character for the play should be different onscreen.  Because of Coward’s public persona, audiences will probably not accept him as the role of Gibbons and thus, actor Robert Donat was brought in to perform the character.  Cast for the matriarch role was Celia Johnson who starred in “In Which We Serve”.

Another major decision made by David Lean for the film adaptation of “This Happy Breed” was to film it in three-strip Technicolor stock.

The film was well received by critics and “This Happy Breed” would earn Celia Johnson a “Best Actress” award by the National Board of Review.

Sixty-four-years since the theatrical premiere of the film, the British Film Institute would undergo a near three-year restoration effort of “This Happy Breed” and 68-years later, “The Happy Breed” will be released in the US via its new restored version as part of the Criterion Collection’s “David Lean Directs Noel Coward” Blu-ray and DVD Box Set.

“This Happy Breed” is a film about the Gibbons family and their lives from 1919-1939.  The storyline broken down to three acts.

The first act features the family moving into their new home and their children now become adults.  The second act features their children as adults and making difficult decisions and what happens to the children 12-years later.  The third and final act takes place during the mid-to-late ’30s as both Frank and Ethel Gibbons are now older and no one left at the home but them two.  What will happen to the married couple and how will they live their lives from here on in?

The film begins shortly after World War I (the summer of 1919) and the Gibbons family have moved into their new home in Clapham, South London.  The family consists of family patriarch and former army soldier Frank Gibbons (played by Robert Newton), his wife Ethel Gibbons (played by Cecilia Johnson) and their three children Reg (played by John Blythe), Vi (played by Eileen Erskine) and Queenie (played by Kay Walsh).  Also, living in the house is Frank’s widowed sister Syliva (played by Alison Leggatt) and Ethel’s mother, Mrs. Flint (played by Amy Veness).

While moving in, the family is greeted by their neighbor Bob Mitchell (played by Stanley Holloway), who is a former serviceman that served the army along with Frank.

In 1925, during Christmas dinner, we get to learn more about the Gibbons children.  VI, the eldest daughter is very close to the family, while youngest daughter Queenie is dating serviceman Billy Mitchell (played by John Mills), son of Fred’s friend (and neighbor) Bob.  Queenie is starting to dislike living at home, tired of her parents and her siblings.  And because Billy is going off on duty, she doesn’t know if she can bare the thought of him leaving.  She also tells him that she hates suburban life that she doesn’t think she can be a good wife.

Meanwhile, the only boy in the family, Reg has been hanging out with socialist Sam Leadbitter (played by Guy Verney) and now preaches against the injustice of the rich towards the poor and is often arguing with his sister Queenie, who doesn’t respect his ideals all that much.

Fast forward to 1926 and Fred and Bob continue to drink a lot of to Ethel’s displeasure.  But as for Reg, his striking has now got him injured and Vi confronts Sam about how he has changed her son and no longer wants him at their home.  As Frank goes to talk with his son, we get to see a moment where the two talk about their ideals.  Frank is more of the traditionalist, while Reg is more of an idealist.  But most important, father respects that his son has his own opinion.

The film then fast forwards to 1931 and this year would change for the Gibbons as a child gets married, a child leaves home, a child is disowned and a child dies tragically.

The final third act shows us how the Gibbons Family are twenty years since they moved into the home.  What will happen to both Frank and Ethel as they are the only two left in the house and what has happened to the children and the family members.

VIDEO & AUDIO:

“This Happy Breed” is presented in a brand new high-definition digital transfer courtesy of the BFI (British Film Institute) National Archive’s 2008 restoration. With that being said, because this film has been restored, if you want the best version of this film to date, you definitely want to pick up the Blu-ray release of the “David Lean Directs Noel Coward” box set.

As for the DVD, “This Happy Breed” is presented in technicolor (1:37:1 aspect ratio).  It’s important to note that while this film was shot in three-strip Technicolor, director David Lean did not want this film too look like a standard Technicolor film.

As for the picture quality, according to Criterion, the picture has been slightly windowboxed (for the DVD version) to ensure the maximum image is visible on all monitors. The new restoration was created in at Technicolor Creative Services in London on a Spirit Datacine from the restoration internegative and was produced from the original YCM negatives.

As for the audio, the audio is presented in Monaural. Dialogue is crystal clear and I heard no hiss or any audio problems during my viewing.

According to the Criterion Collection, the monaural soundtrack was restored from a sound print made from the original nitrate track negative. Click, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.

English subtitles are presented in English SDH.

SPECIAL FEATURES:

“This Happy Breed” comes with the following special features:

• Barry Day - (14:55) Featuring an October 2011 interview with Barry Day, author of “Coward on Film: The Cinema of Noel Coward” discussing “This Happy Breed”.
• The Golden Age – (44:03) A 2010 interview with cinematographer/producer/screenwriter Ronald Neame who talks about the making of the four Noel Coward/David Lean films and things that took place behind-the-scenes and his feelings towards those films.
• Trailer – (2:36) The original theatrical trailer for “This Happy Breed”.
• Re-Release Trailer – (2:20) The re-release trailer for “This Happy Breed”.

EXTRAS:

• 46-Page booklet – “David Lean Directs Noel Coward” comes with a 46-page booklet with essays for each film. For the “Brief Encounter” portion, the essays are all brand new. For “This Happy Breed”, the essay “Home Truths” by Farran Smith Nehme (writer for the blog “Self-Styled Siren”) is included.

“This Happy Breed” is the second collaboration between Noel Coward and David Lean.  This time around because Coward was busy with several plays on stage, David Lean would get the opportunity to make his solo directorial debut.

Written by Noel Coward and even starring Coward in the play version, David Lean wanted to make some important decisions. One, Coward would not play the role of family patriarch Frank Gibbons as movie audiences would probably not accept them as they do on stage and because of his public persona and two, the film would be shot in Technicolor.

“This Happy Breed” is a British film about life for a British family.   While in today’s modern cinema and telefilms, we have seen films that showcase families over the span of several years and to the point where films have been made every five years to actually show the real-time growth of characters,”This Happy Breed” was a film that was easily accessible to audiences at the time.

Audiences were touched and fascinated with a film about a married couple who moved to South London not long after World War I and then we see the changes that the family, the parents, the children and relatives during this period of 20-years (from 1919-1939).

Back then, this film was seen as important as Noel Coward had covered a British family in his saga “Cavalcade” (featuring a London family from 1899 through 1933).  As Cavalcade was a film that featured an upper class family during the Second Boer War, the death of Queen Victoria, the sinking of the Titanic and World War I, “This Happy Breed” would focus on a middle class family life after World War I, the General Strike of 1926, ex-king Edward VIII’s abdication broadcast and the Munich Pact.

Both films accomplished the goal by Coward of showcasing the joy and grief of families and how that process can be equally fascinating drama.

But what I enjoyed about this film are its performances but also the makeup and set design showing how these people along with their belongs age during that 20-years.  This is the reason why David Lean wanted this film to be shot in technicolor because it had to show the process of aging between the characters and the home they lived in.

First the performances, Celia Johnson is an amazing actress and in this film, she nails it!  While she will be best known for her role in the David Lean/Noel Coward film “Brief Encounter”, the way she played Ethel is fantastic!  Notice the moments where she gets upset with her husband for drinking too much but also dealing with her daughter Queenie.    For each of those moments of seeing this mother go through various emotional states, the final scene alone involving her and her daughter literally made me shed some tears.

And what is very intriguing, while watching the special feature “The Golden Age” with cinematographer Ronald Neame, he even explains the cast was in tears while shooting the mother and daughter scene and when they said cut, while everyone was in awe of their performance, Celia had to go catch her train ride back home.  She is an actress that can literally transform herself on the big screen and her age progression of her character and how she plays the role was very intriguing, fantastic and convincing.

As for actor, Robert Newton who plays Frank Gibbons.  He played the calm father, often drunk father.  But I was surprised to find out that the actor was drunk quite often in the set to the point that he frustrated the staff immensely due to his drunken tirades.  While most films would have fired the actor, it’s interesting that they kept with him and perhaps the role we see Robert Newton playing, especially the drunken scene was not too far off from reality as he was drunk on set.

And while there are other notable performances by the cast, it’s the storyline that moves audiences.  The storyline is accessible because all families have gone through amazing highs and devastating lows.  May it be the death of a family member, families can always remember these significant moments during their lifetime and possibly know how family members reacted to certain situations.  It’s a part of life and “This Happy Breed” happened to cover a time and era that a lot of us never knew but are fascinated by it.

As for the DVD, the picture quality is very good and I can only imagine how much more beautiful and more detailed the film would be on Blu-ray.  This disc, like the other discs feature a featurette by Coward historian Barry Day but most importantly, an interview with cinematographer Ronald Neame who talks about working with Coward and Lean for all four films.  It was great to hear from his lips of his experience of working on the films and with both men, especially some interesting facts in regards to the talents of each film.

Overall, “This Happy Breed” is another notable film included in Criterion Collection’s wonderful box set “David Lean Directs Noel Coward” and another film that I highly recommend watching!

 

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