THE CRITERION COLLECTION & ECLIPSE SERIES (a J!-ENT Listing of all Criterion-related Blu-ray and DVD Reviews)
May 17, 2012 by J!-ENT · Leave a Comment
Since 1984, the Criterion Collection, a continuing series of important classic and contemporary films, has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements.
The following is a list of all the CRITERION COLLECTION Blu-ray and DVD’s we have reviewed on J!-ENT thus far.
THE CRITERION COLLECTION BLU-RAY AND DVD REVIEWS (Listing are in the Criterion Collection & Eclipse Series numeric order):
Note: Reviews are from 1999-Present
Seven Samurai – THE CRITERION COLLECTION #2 (Blu-ray release)
Amarcord – The Criterion Collection #4
the 400 blows – THE CRITERION COLLECTION #5
Beauty and the Beast – THE CRITERION COLLECTION #6
A NIGHT TO REMEMBER – THE CRITERION COLLECTION #7 (1998 DVD Release)
A NIGHT TO REMEMBER – The Criterion Collection #7 (2012 Blu-ray release)
Walkabout – THE CRITERION COLLECTION #10
The Naked Kiss – The Criterion Collection #18
Shock Corridor – The Criterion Collection #19
High and Low – The Criterion Collection #24
alphaville – THE CRITERION COLLECTION #25
Branded to Kill – The Criterion Collection #38
Tokyo Drifter – The Criterion Collection #39
ARMAGEDDON – THE CRITERION COLLECTION #40
For All Mankind – THE CRITERION COLLECTION #54
The Passion of Joan of Arc -THE CRITERION COLLECTION #62
The Third Man – THE CRITERION COLLECTION #64
The Blood of a Poet – THE CRITERION COLLECTION #67 (part of “Jean Cocteau’s Orphic Trilogy”)
Orpheus – The Criterion Collection #68
Cléo from 5 to 7 – THE CRITERION COLLECTION #73 (part of the “4 By Agnès Varda” Box Set)
Chasing Amy – THE CRITERION COLLECTION #75
Brief Encounter – THE CRITERION COLLECTION #76 (2000 Release)
Brief Encounter – The Criterion Collection #76 (as part of the “David Lean Directs Noel Coward” DVD Box Set) (2012 Release)
Good Morning – THE CRITERION COLLECTION #84
L’Avventura – THE CRITERION COLLECTION #98
GIMME SHELTER – THE CRITERION COLLECTION #99
BEASTIE BOYS VIDEO ANTHOLOGY – THE CRITERION COLLECTION #100
THE ROCK – THE CRITERION COLLECTION #108
M. Hulot’s Holiday – THE CRITERION COLLECTION #110
Mon Oncle – THE CRITERION COLLECTION #111
Playtime – THE CRITERON COLLECTION #112
Sullivan’s Travels – THE CRITERION COLLECTION #118
Rashomon – THE CRITERION COLLECTION #138
Contempt – THE CRITERION COLLECTION #171
Band of Outsiders – THE CRITERION COLLECTION #174
My Life as a Dog – The Criterion Collection #178
Night and Fog – THE CRITERION COLLECTION #197
The Rules of the Game – THE CRITERION COLLECTION #216 (2004 Release)
The Rules of the Game – THE CRITERION COLLECTION #216 (2011 Release)
Smiles of a Summer Night (Sommarnattens leende) – The Criterion Collection #237
A Woman is a Woman – THE CRITERION COLLECTION #238
The Battle of Algiers – THE CRITERION COLLECTION #249
SHADOWS – THE CRITERION COLLECTION #251 (as part of the “John Cassavetes Five Films” DVD Box Set)
Fighting Elegy – THE CRITERION COLLECTION #269
Tout va Bien – THE CRITERION COLLECTION #275
L’Eclisse – THE CRITERION COLLECTION #278
Jules and Jim – THE CRITERION COLLECTION #281
Le Samourai – THE CRITERION COLLECTION #306
Masculin Féminin – THE CRITERION COLLECTION #308
Metropolitan – THE CRITERION COLLECTION #326
Late Spring – The Criterion Collection #331
Yi Yi – The CRITERION COLLECTION #339
The Bakery Girl of Monceau – THE CRITERION COLLECTION #343 (part of “Eric Rohmer’s Six Moral Tales” DVD Box Set)
Suzanne’s Career – THE CRITERION COLLECTION #344 (part of Eric Rohmer’s Six Moral Tales” DVD Box Set)
My Night at Maud’s – THE CRITERION COLLECTION #345 (part of “Eric Rohmer’s Six Moral Tales” DVD Box Set)
Pandora’s Box – THE CRITERION COLLECTION #358
The Double Life of Veronique – THE CRITERION COLLECTION #359
symbiopsychotaxiplasm: Two Takes by William Greaves – THE CRITERION COLLECTION #360
The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370
Overlord – THE CRITERION COLLECTION #382
La Jetée/Sans Soleil – THE CRITERION COLLECTION #387
Robinson Crusoe on Mars – The Criterion Collection #404
Breathless – THE CRITERION COLLECTION #408
La Pointe Courte – THE CRITERION COLLECTION #419 (part of the “4 by Agnès Varda” Box Set)
Pierrot Le Fou – THE CRITERION COLLECTION #421
Antonio Gaudi – THE CRITERION COLLECTION #425
Trafic – The Criterion Collection #439
BOTTLE ROCKET – THE CRITERION COLLECTION #450
CHUNGKING EXPRESS – THE CRITERION COLLECTION #453
El Norte – THE CRITERION COLLECTION #458
Simon of the Desert – THE CRITERION COLLECTION #460
THE LAST METRO – THE CRITERION COLLECTION #462
In the Realm of the Senses – THE CRITERION COLLECTION #466
The Curious Case of BENJAMIN BUTTON – THE CRITERION COLLECTION #476
Made in U.S.A. – THE CRITERION COLLECTION #481
Marty (as part of “The Golden Age of Television – THE CRITERION COLLECTION #495)
Germany, Year Zero – THE CRITERION COLLECTION #499 (as part of Roberto Rosselini’s War Trilogy)
REVANCHE – THE CRITERION COLLECTION #502
Make Way for Tomorrow – THE CRITERION COLLECTION #505
Dillinger is Dead – THE CRITERION COLLECTION #506
Vivre sa vie – THE CRITERION COLLECTION #512
Summer Hours – THE CRITERION COLLECTION #513
Red Desert – THE CRITERION COLLECTION #522
The Secret of the Grain – THE CRITERION COLLECTION #527
Merry Christmas Mr. Lawrence – THE CRITERION COLLECTION #535
Paths of Glory – THE CRITERION COLLECTION #538
MODERN TIMES – THE CRITERION COLLECTION #543
CRONOS – THE CRITERION COLLECTION #551
The Times of Harvey Milk – THE CRITERION COLLECTION #557
Topsy-Turvy – THE CRITERION COLLECTION #558
The Mikado – THE CRITERION COLLECTION #559
Something Wild – The Criterion Collection #563
Pale Flower – The Criterion Collection #564
The Great Dictator – The Criterion Collection #565
The Makioka Sisters – The Criterion Collection #567
People on Sunday – The Criterion Collection #569
Zazie dans le métro – The Criterion Collection #570
Léon Morin, Priest – The Criterion Collection #572
The Music Room – The Criterion Collection #573
Secret Sunshine – The Criterion Collection #576
The Complete Jean Vigo – The Criterion Collection #578
The Phantom Carriage – The Criterion Collection #579
Le Beau Serge – The Criterion Collection #580
12 Angry Men – The Criterion Collection #591
Design for a Living – The Criterion Collection #592
Belle de Jour – The Criterion Collection #593
The Moment of Truth – The Criterion Collection #595
Three Outlaw Samurai – The Criterion Collection #596
Tiny Furniture – The Criterion Collection #597
World on a Wire – The Criterion Collection #598
Letter Never Sent – The Criterion Collection #601
The War Room – The Criterion Collection #602
David Lean Directs Noel Coward – The Criterion Collection #603-606
A Hollis Frampton Odyssey – The Criterion Collection #607
¡Alambrista! – The Criterion Collection #609
The Organizer – The Criterion Collection #610
Being John Malkovich – The Criterion Collection #611
Certified Copy – The Criterion Collection #613
ECLIPSE SERIES DVD REVIEWS
One Hour With You (part of Lubitsch Musicals – Eclipse Series #8)
Tokyo Chorus (part of Silent Ozu: Three Family Comedies – Eclipse Series #10)
I Was Born, But… (part of Silent Ozu: Three Family Comedies – Eclipse Series #10)
The Ascent (part of Larisa Shepitko – Eclipse Series #11)
Wings (part of Larisa Shepitko – Eclipse Series #11)
Eclipse Series #21: Oshima’s Outlaw Sixties – General Review
Pleasures of the Flesh (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Violence at Noon (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Sing a Song of Sex (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Japanese Summer: Double Suicide (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Three Resurrected Drunkards (part of Oshima’s Outlaw Sixties – Eclipse Series #21)
Eclipse Series 23: The First Films of Akira Kurosawa – General Review
Sanshiro Sugata (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
The Most Beautiful (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
Sanshiro Sugata, Part Two (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
The Men Who Tread on the Tiger’s Tail (as part of The First Films of Akira Kurosawa – Eclipse Series #23)
Memory for Max, Claire, Ida and Company (as part of The Actuality Dramas of Allan King – Eclipse Series #24)
Eclipse Series 25: Basil Dearden’s London Underground (General Review)
Sapphire (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
The League of Gentlemen (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
Victim (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
All Night Long (as part of the Basil Dearden’s London Underground – Eclipse Series #25)
MISC. RELEASES
Band of Outsiders (part of the “10 Years of Rialto Pictures” DVD Box Set)
A Night to Remember – The Criterion Collection #7 (a J!-ENT Blu-ray Disc Review)
March 22, 2012 by Dennis Amith · Leave a Comment
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)
March 20, 2012 by Dennis Amith · Leave a Comment
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 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:
[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!
Brief Encounter – THE CRITERION COLLECTION #76 (as part of the “David Lean Directs Noel Coward” DVD Box Set) (a J!-ENT DVD Review)
March 17, 2012 by Dennis Amith · Leave a Comment
An endearing romance classic about a doomed love affair. “Brief Encounter” is filmmaker David Lean’s film adaptation of Noel Coward’s play “Still Life” and their final collaboration together. Featuring great performances by Celia Johnson and Trevor Howard, “Brief Encounter” is indeed the highlight of the “David Lean Directs Noel Coward” DVD Box Set!
Image courtesy of All Rights Reserved.
TITLE: Brief Encounter – THE CRITERION COLLECTION #76 (as part of the David Lean Directs Noel Coward DVD Box Set)
FILM RELEASE DATE: 1945
DURATION: 86 Minutes
DVD INFORMATION: Black and White, Monaural , 1:37:1 Aspect Ratio
COMPANY: Janus Films/The Criterion Collection
RELEASED: March 27, 2012
Based on the play “Still Life” by Noel Coward
Directed by David Lean
Produced by Noel Coward
Cinematography by Robert Krasker
Edited by Jack Harris
Art Direction by Lawrence P. Williams
Starring:
Celia Johnson as Laura Jesson
Trevor Howard as Dr. Alec Harvey
Stanley Holloway as Albert Godby
Joyce Carey as Myrtle Bagot
Cyril Raymond as Fred Jesson
Everley Gregg as Dolly Messiter
Marjorie Mars as Mary Norton
Margaret Barton as Beryl Walters, tea room assistant
From Noël Coward’s play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score.
For four straight years, filmmaker and David Lean have had a wonderful collaboration in British cinema. In celebration of this unique collaboration, the Criterion Collection will be releasing the four films that they have worked together on: “In Which We Serve” (1942), “This Happy Breed” (1944), “Blithe Spirit” (1945) and “Brief Encounter” (1945).
For their final collaboration, “Brief Encounter” would be a major accomplishment for both men as it would win the “Grand Prize” at the 1945 Cannes Film Festival. The film would also earn Celia Johnson an Academy Award nomination for “Best Actress” in 1947.
Needless to say, this film would bring recognition to David Lean’s work as he would go on to work on two Charles Dickens film adaptations afterward and continue to work on many award winning films in the future (such as “Hobson’s Choice”, “Summertime”, “The Bridge on the River Kwai”, “Lawrence of Arabia”, “Doctor Zhivago”, “A Passage to India” to name a few) and cement his status as one of the greatest filmmakers of all time.
As for English playwright Sir Noel Coward, he would go on to continuing what he had done all along. Working on a plays, musicals, cabaret shows, theater and eventually returning to film with hits such as “Around the World in 80 Days”, “Our Man in Havana”, “Bunny Lake is Missing” and the “Italian Job”.
Both men would benefit from working together and boosting their careers.
“Brief Encounter” is a film adaptation of “Still Life” by Sir Noel Coward and directed by David Lean. The film was originally released on DVD courtesy of the Criterion Collection back in 2000 but has been re-released on Blu-ray and DVD utilizing a new high definition transfer from the BFI National Archive’s 2008 restoration.
The film revolves around a suburban housewife named Laura Jesson (played by Celia Johnson, “The Prime of Miss Jean Brodie”, “I Believe in You”, “Play for Today”) who says goodbye to a man in a tea house who leaves by train, as the two are having a conversation, Laura is interrupted by an old friend and for some reason, we see the anguish in her face. A sense of desperation as she returns home with such sadness. We see Laura return to her husband but it is then she tells us her story. She is a woman who has had an affair with another man.
We learn from Laura that she was an ordinary woman, with an ordinary life. Happily married with two children, she goes on with her daily life riding the train into town and checking out a book to read at a local store, going to lunch with friends and enjoying a picture.
While she goes to the tea house at the train station, while waiting for a train one evening, some grit gets into her eyes. That is when she meets Dr. Alec Harvey (played by Trevor Howard, “Ghandi”, “To Catch a Spy”, “Battle of Britain”) who helps remove the grit from her eye.
It started off quite innocently as the two would see each other while she was on her way to some engagement and Alec, a general practitioner going to his work at the hospital. But one day, while she is eating alone at a restaurant, Alec joins her (since the restaurant was full of people and had no open seats). The two have a great discussion and we learn that Alec is happily married with children. Laura showing her kindness for helping her with removing the grit in her eye, the two go to catch an event at the Palladium.
But the two start to realize they enjoy each other’s company. They would meet with each other, while she would lie and call her husband that she was out with a girlfriend. But both start to realize that they are falling in love with each other and know what they are doing are wrong but their hearts tell them not to deny their love and spend time with each other in secret. But for Laura, emotionally it is so difficult because she is married with children and knows it is wrong. But to make things worse, her female friends start to see her having lunch with another man, making Laura feel guilty and stressed that they are talking about her being with another man.
Both know that they can’t keep this fling hidden but now is the time that they must decide whether or not to follow their hearts and stay in love with each other or to say goodbye and go on with their own lives.
VIDEO & AUDIO:
“Brief Encounter” was previously released on DVD back in 2000 by the Criterion Collection. But this transfer is brand new as it is the 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, “Brief Encounter” is featured in black and white (1:37:1 aspect ratio) and for a film that was created back in 1946, this 66-year-old film looks absolutely fantastic on DVD. Compared to the 2000 DVD edition, the restoration has a good amount of grain which is intact, back then, quite a bit of DNR was used but the grain is noticeable. The contrast is wonderful. Black levels are nice and deep, whites/grays are vibrant and clear but I can only imagine how much sharper and pronounced the quality is in HD via Blu-ray. Also, there is less flickering in this DVD version compared to the 2000 DVD release.
It helps that the cinematography and the shots and camera positioning was well-done and captured the various mood of Laura. May it be her making a phone call to Alec or running through the rain, cinematographer Robert Krasker (“Romeo and Juliet”, “Alexander the Great”, “The Running Man”) did a wonderful job in capturing the emotion of this 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 4K resolution on Spirit Datacine at Cineimage, London, from the best surviving duplicate safety negatives. Pixel Farm’s PFClean was used for flicker correction.
As for the audio, the audio is presented in Monaural and dialogue is Dolby Digital 1.0 and the Rachmaninoff score is center channel driven.
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:
“Brief Encounter” comes with the following special features:
- Audio Commentary – Featuring the original 2000 Criterion Collection audio commentary by film historian Bruce Elder who discusses the film and also the career of David Lean, Joyce Carey, Celia Johnson and Stanley Holloway. Also, the adaptation of “Still Life” to cinema. There is one section and this relates to Elder talking about a scene with Dr. Alec Harvey and his colleague which I totally agree with him and how that scene was a bit abrupt to the film. Interesting enough, how this abruptness was an inspiration for director Billy Wilder for his film “The Apartment”. But for the most part, an informative commentary track.
- Barry Day - (16:14) Featuring an October 2011 interview with Barry Day, author of “Coward on Film: The Cinema of Noel Coward” discussing “Brief Encounter”.
- A Profile of “Brief Encounter” – (24:14) A short documentary produced in London in 200 for Carlton International Media featuring interviews with screenwriter/producer Ronald Neame, actress Margaret Barlon and actress Celia Johnson’s daughter Kate Fleming and more.
- “David Lean: A Self Portrait” – (57:56) Featuring the 1971 documentary “David Lean: A Self Portrait” by Thomas Craven featuring an extensive interview with Lean about his work and approach to filmmaking.
- Theatrical Trailer – (3:01) The original theatrical trailer.
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. Included are “Riskiest Thing I Ever Did” (Notes on “Brief Encounter” by Kevin Brownlow.
An endearing romance classic about a doomed love affair. “Brief Encounter” is filmmaker David Lean’s film adaptation of Noel Coward’s play “Still Life” and their final collaboration together.
It’s quite interesting to watch a film such as “Brief Encounter” because we see extra-marital affairs in film as common place in cinema. But we don’t really see a film that focuses on the actual affair and how one deals with it emotionally. In this case, through the eyes of Laura Jesson as she takes the viewer from the beginning of the relationship and seeing how it matured, to talking about the female friends that she has and just the emotional turmoil she goes through of knowing she has a family but knowing that she loves Alec so much.
Both know they love each other but they have significant others and children and they are behaving inappropriately that it starts to take its toll on her. For Alec, he could care less…he’s very much in love with Laura but for Laura, it’s the lying and hiding that starts to break her each and every day. She knows its wrong but her heart continues to tell her to go for love and she is torn between her conflicting emotions.
It’s also important to emphasize that back in the mid-1940′s, extra-marital affairs was not as significant as they are today. Sure, divorce rate is high now, extra-marital affairs seem to be commonplace in cinema and people tend to go for personal happiness while family was emphasized heavily during that time. But Laura’s life was mundane and like many housewives, a common routine of taking care of the husband and children and it was a repetition of the same things over and over again. She was an ordinary woman that did not expect this to happen to her.
We definitely get two different perspectives of the wife and her obligation to family with Noel Coward’s “Brief Encounter” and “Easy Virtue”. Both female leads are torn with what they should do with their situation as married wives but with Laura, there is nothing to gain by pursuing personal happiness. For Laura, it is a different time, a different era and she has more to lose.
Both Celia Johnson and Trevor Howard provide a fantastic performance. I enjoyed the cinematography and the use of “Piano Concerto no. 2″ by Sergei Rachmaninoff (played by Eileen Joyce) throughout the film.
As mentioned earlier, if you want the best version of “Brief Encounter” or any of the David Lean/Noel Coward films, I highly recommend going with the Blu-ray version of this set. Otherwise, if you are only interested in DVD, this set is simply worth owning.
The biggest question asked is if one owns the original 2000 Criterion Collection release of “Brief Encounter” and they plan to purchase this 2012 box set, “Should they get rid of their original 2000 Criterion Collection DVD release?”. Coming from the collector’s perspective, it depends. The 2000 DVD release featured a two-page insert and an essay written by British Film critic Adrian Turner and the special features had the restoration demo and color bars.
Otherwise, that’s about it. If those features are important to you, then keep it. The audio commentary by film historian Bruce Elder from the 2000 DVD release is included in the 2012 release and you get more special features and a much better HD transfer with this newer release.
Overall, “Brief Encounter” is an enjoyable film that keeps things simple. No need to stretch the film past its 86 minutes and despite one scene that the historian Bruce Eder points out in the commentary, for the most part this film is very well done. A romantic film showing us how love can happen unexpectedly but how love can easily be lost. “Brief Encounter” is definitely worth watching.
The Moment of Truth – The Criterion Collection #595 (a J!-ENT Blu-ray Disc Review)
January 11, 2012 by Dennis Amith · Leave a Comment
“The Moment of Truth” may not be as controversial as Francesco Rosi’s previous or even later films but it does show how far he was able to go when given that creative freedom and in the case of this film, that is to capture every detail of bullfighting. It’s definitely not a film for those who are compassionate about the treatment of animals or are bothered by violence towards an animal, but for those who look at bullfighting as a cultural tradition and artform and for those who want to watch a film from one of Italy’s legendary postwar neorealist filmmakers – Francesco Rosi, “The Moment of Truth” is worth recommending!
Image courtesy of © 1964 Intramoviews Srl. 2012 The Criterion Collection. All Rights Reserved.
TITLE: The Moment of Truth – The Criterion Collection #595 (Il momento della verità)
MOVIE RELEASE: 1965
DURATION: 107 Minutes
DVD INFORMATION: Color, Italian with English Subtitles, Monaural, 2:35:1 Aspect Ratio
COMPANY: Janus Films/The Criterion Collection
RELEASE DATE: January 24, 2012
Directed by Francesco Rosi
Story by Pedro Beltran, Ricardo Munoz Suay, Pere Portabella, Francesco Rosi
Screenplay by Pedro Beltran, Ricardo Munoz Suay, Pere Portabella
Music by Piero Piccioni
Cinematography by Pasqualino De Santis, Gianni Di Venanzo, Aiace Parolin
Edited by Mario Serandrei
Starring:
Miguel Mateo “Miguelin” as Miguel Romero “Miguelin”
Jose Gomez Seillano as Don Jose, the Agent
Pedro Basauri “Pedrucho” as Himself, the Maestro
Linda Christian as Linda, American Woman
The Moment of Truth (Il momento della verità), from director Francesco Rosi, is a visceral plunge into the life of a famous torero—played by real-life bullfighting legend Miguel Mateo, known as Miguelín. Charting his rise and fall with a single-minded focus on the bloody business at hand, the film is at once gritty and operatic, placing the viewer right in the thick of the ring’s action, as close to death as possible. Like all of the great Italian truth seeker’s films, this is not just an electrifying drama but also a profound and moving inquiry into a violent world—and it’s perhaps the greatest bullfighting movie ever made.
When it comes to daring films, one of the filmmakers to emerge from post-neorealist Italian cinema and literally shake the film industry was Francesco Rosi.
Rosi was known to take on corruption in his films and in 1962, his film “Salvatore Giuliano” would earn him the “Silver Bear for Best Director” at the 12 Berlin International Festival and would continue to pursue controversial topics and subjects throughout his career, including his 1972 film “The Mattei Affair” which won the Palme d’Or at the Cannes Film Festival.
And through his brave and bold filmmaking, in 2008, the Italian filmmaker was honored in 2008 with an Honorary Golden Bear for Lifetime Achievement.
But while Rosi is known for taking on mafia and government corruption films, in 1965, Rosi wanted to capture something new and different and that was to create a film around bullfighting. A film known as “Il momento della verità” (The Moment of Truth).
Inspired by Ernest Hemingway’s book, “Death in the Afternoon”, about the ceremonial and traditions of Spanish bullfighting including the fear and courage of the toreador, Rosi wanted to capture this in film. So, after receiving the go-ahead, Rosi headed to Spain in which he would meet a young man named Miguel Mateo, who would be the lead actor in the film but also would become a real-life bullfighting legend.
Rosi and two members of his film crew documented actual bullfighting, a tradition in Spain (and other countries) in which a matador/toreador (or torero) use a variety of moves that they learned from training and is considered an art form as they use a variety of maneuvers around a live bull. Because the torero is in close range, they can easily be gored or trampled to death.
During the event, the torero would use a morillo to stab the bulls neck and show which side is actually injured, before leading to the final moment with the bull, the torero lunges a sword into the bull (a movement known as “estocada”) and one strike can kill the bull. Once the bull is down, the crowd runs down to the bull and typically they celebrate the toredor’s win.
The other event shown is when a large crowd gathers inside the arena and a young bull is unleashed at them and many run around trying to avoid being gored (some trying to grab and hold the bulls horns).
The film would be one of the first major films to capture live bullfighting on camera and incorporated to a film. And while the film was well-received back in the mid ’60s, the film has been out of circulation for a long time, until now.
The Criterion Collection will be releasing the “The Moment of Truth” on Blu-ray and DVD, the third Rosi film to be included in the Criterion Collection after his 1962 film “Salvatore Giuliano” and his 1963 film “Hands over the City”.
“The Moment of Truth” begins with funeral procession and then transitions to a bullfight ceremony and everyone enjoying the festivities. Among those enjoying the festivities is Miguel Mateo, a young man who is tired of living in the country and tilling the farm area with his father. He wants to make good money, so he decides to move to the city and see what kind of job he is able to get.
Immediately, Miguel learns that getting a job is not easy and learns from other guys that the best way is to go through middleman. But working this way, Miguel learns that he is no different in a position when he was living in the country. All work, no life, nothing to show for all the hard work.
One night, while going out with a few guy friends to a bar, he finds out that a torero is training people on how to become a toreador. While Miguel doesn’t have much money, he figures that perhaps by training hard, he can become a toreador and make a lot of money. And sure enough, through hard training, he becomes well recognized.
In fact, he becomes so good that he catches the eye of a professional toreador manager and is signed to a lucrative contract and now, Miguel Maeo “Miguelin” becomes a big attraction to these bullfighting events. And as he manages to kill bull after bull, he has a long tour in front of him and one day, he is nearly gored and trampled. But he manages to survive another day.
But the life of being a toreador starts to get the best of him as he becomes exhausted, especially as Miguelin is being wakened by nightmares that if he does not stop what he’s doing, he will someday die.
His manager tries to tell him that it’s a fear that all toreadors face but was that nightmare just a part of fear or was the nightmare a sign that he must stop immediately?
VIDEO:
“The Moment of Truth” is presented in 1080p High Definition (2:35:1 aspect ratio). It’s important to note that the film was shot in a variety of ways. For one, footage comes from the many live bullfighting events in which Rossi and his cameramen would document these major events, the other is footage from actual parts of the film. Capturing the countryside, a party that Miguelin attends, etc.
With that being said, picture quality tends to vary as the theatrical portions hold up quite well, while those shot in the bullfighting arena does show its age, shows quite a bit of noise but at times, there is quite a bit of detail, from the blood running through the bull after it is stabbed, to the dripping blood coming out of the bull’s mouth or neck and later when the bull’s neck is slit and blood flows all over the ground.
For the most part, picture quality for this film is good in the fact that this film showed no flickering, no major film damage, discoloration or excessive aging of the film elements.
According to the Criterion Collection, the new high-definition digital transfer was created on a Spirit Datacine from a 35 mm interpositive. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI’s DRS and Pixel Farm’s PFClean, while Image Systems’ DVNR was used for small dirt, grain and noise reduction.
AUDIO & SUBTITLES:
“The Moment of Truth” is presented in Italian monaural. The dialogue is clear through the center channel and you can hear the crowd screaming in support of the toreador. I didn’t hear any hissing, crackling or any negative issues with the audio soundtrack for this film.
According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from the 35 mm optical soundtrack negative. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.
Subtitles are presented in English SDH.
SPECIAL FEATURES:
“The Moment of Truth – The Criterion Collection #595″ on Blu-ray comes with the following special feature:
- Francesco Rosi - (13:52) An exclusive interview with director Francesco Rosi from 2004. Rosi explains of how he was inspired by Hemingway’s book, filming the bullfighting sequences and discovering Miguel Mateo but also how Mateo was actually injured during an actual bullfight scene that is in the film.
EXTRAS:
“The Moment of Truth – The Criterion Collection #595″ comes with an 20-page booklet featuring image stills from the film and the essay “The Blood of Beasts” by Peter Matthews.
“The Moment of Truth” is one of those hybrid films that is half documentary and the other half is an actual film. And while the film about one man’s escape from poverty to take on a cultural tradition that is highly dangerous for the money may contain a similar banality of a innercity youth trying to make a name for himself as a boxer, filmmaker Francesco Rossi does not want to recreate the risk, he and his crew film wanted to capture what takes place at bullfighting down to the most ultimate, including gruesome details as much as possible.
Already known for his post-neorealist work in Italy, Francesco Rosi does continue to capture the neorealism by showcasing a young man wanting to escape poverty by moving to the big city and to learn that things are not as great as he expected it to be. Until he finds out that toreador’s can make great money and is willing to take on the bull, as long as he gets paid.
But Miguel starts to learn through his training and then his newfound career is that it’s one thing to make a lot of money, but day in and day out, chances of him not surviving a clash with a bull can happen. And just like a bull, who is cheered and then forgotten, so are the toreadors.
It’s an interesting juxtaposition to see the human and the animal. Both being caught up in a longstanding cultural tradition to entertain the masses, but in the end…is it all worth it?
And while many in America may not know the full details of what transpires during a bullfight, suffice to say, “The Moment of Truth” is a film that captures the cultural event with enough detail that even one of Rossi’s main crew members was sickened by it.
I think that Ernest Hemingway best explained bullfighting as “anything capable of arousing passion in its favor will surely raise as much passion against it.”
I was pretty amazed myself of how much detail and footage of the actual bullfight was incorporated in the film. Every bloody moment of it but I can see how that footage helped enhance the character of Miguel. The viewer needed to see his progression as a toreador and to make it authentic, it worked well for Rosi to cast a real-life torero.
And Rosi knew the danger that his talent would be in as he would have to feature footage after footage of him taking on a bull and in today’s films, there is no way an actor will be risking their life onscreen. In the case of “The Moment of Truth”, there is a scene where Miguel Mateo was gored and injured, bloodied in all…suffice to say, this film could have turned out tragic realistically as the main star was injured.
But it’s because we see Miguel Mateo being pitted against the bull, no re-enactment, no special effects, it’s the real deal and Francesco Rossi and his crew of cinematographers were there to capture it all, as it’s not just a film, the actor is also risking his life in this film.
While the film does featuring the rags to riches storyline in the beginning of the film and also Rosi manages to squeeze in some screentime for the first Bond girl, American actress Linda Christian, the scenes that people will remember the most of this film are the actual arena footage. From Miguel to other toreadors taking on the bulls, or to see a crowd of people running around the arena trying to dodge a bull that runs astray, gorging anything that it comes into contact with and see people injured.
It sure seems barbaric, especially if you are a person that cares about animals, but this is a long-standing cultural event that has continued since the 1700′s and possibly even before that. Man vs. animal but what was more of sports entertainment, it’s now become tradition in Spain, Portugal, southern France and other countries.
There is no denying that Miguel Mateo and his elegance of swinging the red drape around the bull, close up to the point where he puts his arm to the bulls face with grace and a bull responding by rushing after him. And to hear the audience react with applause or gasp, for me…I can see how many can be entertained by it.
But because the many scenes of the actual killing of various bulls and watching blood flow through the back, to see them so energetic and suddenly collapse or seeing the bull’s throat slit with blood pouring out of it, once again, this film is not for the squeamish.
As for the Criterion Collection Blu-ray release of “The Moment of Truth”, while I have never watched the film before in any previous format, because of the HD treatment and Criterion Collection’s dedication to quality releases, I have no doubt in my mind that this is probably the best version of this film to be released on video thus far. It may not contain the plethora of special features that one is accustomed to seeing in a Criterion Collection release but nevertheless, it’s a film that is worth watching. One can only hope that Francesco Rosi’s other two films in the Criterion Collection (“Salvatore Giulliani” and “Hands Over the City”) will also receive the HD treatment but for the cineaste, “The Moment of Truth” is a film worth watching.
Overall, “The Moment of Truth” may not be as controversial as Francesco Rosi’s previous or even later films but it does show how far he was able to go when given that creative freedom and in the case of this film, that is to capture every detail of bullfighting. It’s definitely not a film for those who are compassionate about the treatment of animals or are bothered by violence towards an animal, but for those who look at bullfighting as a cultural tradition and artform and for those who want to watch a film from one of Italy’s legendary postwar neorealist filmmakers – Francesco Rosi, “The Moment of Truth” is worth recommending!
The Rules of the Game – THE CRITERION COLLECTION #216 (2011 Release) (a J!-ENT DVD Review)
November 24, 2011 by Dennis Amith · Leave a Comment
Jean Renoir’s failed masterpiece of 1939 has become one of the greatest films ever created of all time. The 106-minute 1959 re-release of “The Rules of the Game” is digitally restored, remastered and in Criterion Collection fashion, loaded with special features. Highly recommended!
Image courtesy of All Rights Reserved.
TITLE: The Rules of the Game – The Criterion Collection #216 (2011 Release)
FILM RELEASE DATE: 1939
DURATION: 106 Minutes
DVD INFORMATION: Black and White, Monaural in French with English Subtitles, 1:33:1 Aspect Ratio
COMPANY: Janus Films/The Criterion Collection
RELEASED: November 15, 2011
Directed by Jean Renoir
Scenario and Dialogue by Jean Renoir
Written by Carl Koch
Cinematography by Jean-Paul Alphen, Jean Bachelet, Jacques Lemare, Alain Renoir
Edited by Marthe Huguet, Marguerite Renoir
Production Design by Coco Chanel
Starring:
Nora Gregor as Christine de la Cheyniest
Marcel Dalio as Robert de la Cheyniest
Julien Carete as Marceaux
Roland Toutain as Andre Jurieux
Gaston Modot as Edouard Schumacher
Jean Renoir as Octave
Paulette Dubost as Lisette
Mila Parely as Genevieve
Odette Talazac as Madame de la Plante
Claire Gerard as Madame de la Bruyere
Pierre Magniere as Le General
Eddy Debray as Corneille
Anne Mayen as Jackie
Lise Elina as Radio Reporter
Widely regarded as one of the greatest films ever made, Jean Renoir’s masterpiece The Rules of the Game (La Règle du jeu) is a scathing critique of corrupt French society cloaked in a comedy of manners. Although the original negative was destroyed during World War II, this edition features the fully reconstructed version embraced by audiences and critics around the world as a timeless representation of Renoir’s genius.
It was 1939 and World War II and the Nazi Germans was coming. What does director Jean Renoir (“The Grand Illusion”, “The River”) do? He creates a film titled “La Regle du jeu” (The Rules of the Game) that is part of an adaptation of Alfred de Musset’s “Les Caprices de Marianne” and a film that was so far ahead of its time, it received an audience reaction that the filmmakers nor the crew/talent were expecting.
When the film was screened in front of audiences in Paris, the controversial film was boo’ed, led to fights in the theater and people burning their newspapers and leading theater owners to demand that Renoir cut the film. The 94-minute film that was screened in theaters, then became 81-minutes and unlike “Grand Illusion” which lasted three months in theaters, “The Rules of the Game” lasted only three weeks. It was the worst reception that Renoir had ever had for a film and was considered a massive failure. The upper class had an incredible disdain because of the actions of the characters in the film and because the film was a comedy that turns tragic, it was a film that defied normal standards of how storylines of films were at the time.
World War II came, Renoir fled to Rome (since he was a target by the Nazi’s) and as for the film, it was banned by the French government. When the film was sealed in a room with other films, because of World War II, that room was bombed and the original 94-minute cut of the film was destroyed.
And decades later, when two cinema fans Jean Gaborit and Jacques Durand wanted to fix the film back to its 94-minute glory, despite the original film being destroyed, the duo worked on the prints and compared with the 81-minute version. And lo and behold, canisters of the unedited footage of the film were found and when the two were done, a 106 minute version was created and is the version of the film that the world has seen. With the French New Wave in full force in France, many film critics, filmmakers and cinema magazines have called “The Rules of the Game” as one of the best films created of all time.
It was a film that was ahead of its time when released in theaters that was jarring to the audience but for the young and upcoming filmmakers who had experienced the back in 1939, the film was nothing like they have ever seen in their lives and help shape French cinema during the 1950′s and 1960′s.
“The Rules of the Game” is a film about eight individuals. The film begins with aviator Andre Jurieux (played by Roland Toutain) landing at Le Bourget Airfield. Hailed as a hero by his countrymen for crossing the Atlantic on his plane, unlike other pilots who would be happy about their conquering of such a feat., that is not how Andre feels. Andre hears from his good friend Octave (played by Jean Renoir) that the woman he did this challenge for, Christine, has not shown up to greet or congratulate him. He did this only for her and because she is not there, it is the most disappoint day of his life.
Andre is so devastated by this and even one time, he crashes his car in such a depression that Octave knows that he must do something. So, Octave decides to help his friend by visiting Christine (played by Nora Gregor). Christine is a socialite, married to the rich Robert de la Cheyniest (played by Marcel Dalio). Octave begs Christine to see Andre because of his current state and he later begs Robert to make it happen and thus a planned party is created to welcome the hero Andre after his aviation accomplishment. We learn that both Octave and Christine grew up with each other and she wants to see her dear friend happy.
We are then introduced to Christine’s maid Lisette (played by Paulette Dubost) who loves working for Christine and is married to Schumacher, the gamekeeper at the country estate.
As people come to party and stay at Robert de la Cheyniest’s mansion, the group go on a hunt on the grounds for rabbits and birds. As Schumacher checks out the traps on the grounds, he encounters a poacher named Marceau (played by Julien Carrette) who is trying to steal the rabbit. Schumacher is angered and when Robert de la Cheyniest discovers the two arguing, instead of kicking him off the grounds, he hires him as a servant. And during this hunt for animals, we learn about “The Rules of the Game”.
We are then introduced to other characters and we see that Robert de la Cheyniest is having an affair with Genevieve de Marras (Mila Parely), Christine has her affairs with other men, Lisette is now enamored with Marceau (which Schumacher has a feeling that there is something going on with his wife and the servant) and as for Andre, he is introduced to Christine’s niece Jackie who starts to fall for him, but for Andre, he has his eyes only on Christine.
The film seems very complex and we see how there are sexual affairs that are happening with the key individuals, but when they are all together at the celebration and everything starts off with happiness and fun, the night ends with tragedy and life for some of these characters will never be the same again.
VIDEO & AUDIO:
Before I get into my review of the DVD, it’s important to note that in 2011, a Blu-ray release for “The Rules of the Game” was released. If you want the best clarity and detail of the film to date, definitely go for the Blu-ray release!
“The Rules of the Game” is presented in black and white (1:33:1 aspect ratio). Many may wonder what is the difference between this 2011 version on DVD versus the 2004 DVD release. The answer is technology. With today’s 2011 technology as opposed to 2004, there are better hardware today that are used to remove scratches and dust but also for better sound remastering.
According to the Criterion Collection, the original negative for the film was destroyed during a World War II bombing raid. In 1959, with Jean Renoir’s approval, the movie was reconstructed by Jean Gaborit and Jacques Durand, result in today’s renowned 106-minute version. In preparation for the original DVD release of “The Rules of the Game”, Criterion searched at length for a 35 mm fine-grain master processed directly from the negative of Gaborit and Durand’s reconstruction and one was finally located at the French film lab GTC in 2003.
Criterion Collection made a high-definition transfer of the fine-grain master created on a Spirit Datacine. Due to the nature of the reconstruction, which is comprised of elements from various sources, there are noticeable variations in quality, nonetheless, this version is made from the best existing materials. Thousands of dirt, debris and scratches were removed using MTI’s DRS both in the 2003 and 2011 editions of “The Rules of the Game”.
The Criterion Collection did a very good job on the remastering. Many times you can see the original footage (during the comparison footage) and you can see how much sharper and clearer the video is. The picture quality is not perfect as you do see some film warping, dust and scratches at times but considering the negative sources, it is to be as expected. The picture quality also appears much cleaner than the 2004 DVD release.
As for the audio, audio is Monaural French and the dialogue is clear. According to the Criterion Collection, the soundtrack was mastered at 24-bit from a 35mm magnetic audio track and audio restoration tools were used to reduce clicks, pops, hiss and hum were manually removed using ProTools HD. Crackle was attenuated using AudioCube’s integrated workstation. So, the 2011 edition definitely received another remaster using today’s 2011 technology versus what was available back in 2003.
Subtitles are in English.
SPECIAL FEATURES:
“The Rules of the Game” comes with plenty of special features. Included are:
DISC 1:
- Renoir Introduction – (6:30) Director Jean Renoir introduces the film and talks about how it was a failure at the theaters and how people reacted to it back then. Also, how he felt when the 106-minute cut of the film was screened at the Venice Film Festival.
- Audio Commentary - The audio commentary is not exactly filmmaker Peter Bogdanovich’s own personal comments but him reading the essay of Renoir scholar Alexander Sesonske, author of “Jean Renoir: The French Films, 1924-1939). Because the essay is timed with the film, Bogdanovich has to speed up the reading quite a bit. But it’s important to note that this is a reading of an essay but not a true audio commentary by Bogdanovich.
- Playing by Different Rules: Version Comparison - (13:05) Historian Chris Faulkner, co-author with Olivier Curchod of an annotated edition of the original shooting script shows a comparison between scenes from the 81-minute version of the film and the 106-minute version of the film and what was cut out in the short version of the film.
- Short Version Ending – (8:32) The ending to the 81-minute version of the film and showing how many scenes featuring Octave were removed.
- Scene Analysis – (5:28) Chris Faulkner, who has researched the film “The Rules of the Game” for the last 15 years recorded a commentary on selected scenes “Public and Private” (5:28) and “Corridor” (2:40) from the film.
DISC 2:
- Jean Renoir, Le Patron – (31:13) Featuring a program from “La Rele et l’exception” produced in 1967 by Jacques Rivette for Cineastes de notre temps. Renoir discusses “The Rules of the Game” with Rivette and Andre Labarthe. Renoir discusses Munich and the war, shooting the film, casting the main characters, improvisation and the final scene of the film.
- Jean Renoir BBC Documentary – (59:58) David Thompson made a two-part BBC documentary on Jean Renoir back in 1993. The first part featured is about “From La Belle Epoque to World War II” and his upbringing up to his career through “The Rules of the Game” and the people in his life and how he managed to pay for creating his films.
- Production History: Chris Faulkner – (8:18) A video essay by “The Rules of the Game” historian Chris Faulkner who offers a condensed look at the history of the film, Renoir’s inception, production, and original release through its 1959 reconstruction.
- Production History: Olivier Curchod – (27:39) A new featurette for this 2011 release featuring N.T. Binh, film scholar Olivier Curchod expands on the the history of “The Rules of the Game”.
- Production History: Gaborit and Durand – (10:05) An excerpt from a 1965 television interview from “Les Ecrans de la ville”, Jean Gaborit and Jacques Durand, the duo responsible for the reconstruction of the film discuss how it came about, what happened during reconstruction and more.
- Interview: Max Douy – (9:05) An interview from 2003, production/set designer Max Douy talked about how the film crew respected Renoir and trying to complete the film before World War II.
- Interview: Mila Parely – (16:17) An interview from 1995 produced by Jacques Motte for his documentary film “Histoires d’un tournage en Sologne” with Mila Parely. Mila who played the character Genevivie de Marras talks about working with director Jean Renoir and behind-the-scenes moments of “The Rules of the Game”.
- Interview: Alain Renoir – (18:18) An interview from 2003. Alain talks about his father and working on the set as an assistant cameraman on “The Rules of the Game”.
EXTRAS:
- 42-Page booklet – Featuring “Everyone Has Their Reasons” by Alexander Sesonske, “The Rules of the Game: Scenario” by Jean Renoir, Jean Renoir on “The Rules of the Game”, Henri Cartier-Bresson remembers, “Director’s Cut” by Bertrand Taverner, “In Truffaut’s Words” and “Tributes”.
“The Rules of the Game” is considered a masterpiece and one of the greatest films of all time. Ranked high by several film institutes and shown at film schools, the film was a bonafide flop during its theatrical run and only 20 years later, was the film truly appreciated and recognized.
The upper class and viewers of the film despised Renoir’s film as many felt it was a middle finger to the upper class, nor were cinemagoers expecting a tragedy when they thought the film would be a comedy. This is no different today especially how prestigious of a title this film has had since it’s 106-minute theatrical re-release back in 1959. Many viewers have approached the film almost similar to “Citizen’s Kane” questioning why this film is so highly regarded.
For one, people must recognized what Renoir created. During a time when many director’s were politically affiliated with the left or the right, most films favored the Burgeois. Renoir grew up with the rich courtesy of his famous father, painter Pierre-Auguste Renoir. This film was Renoir wanting to show what he has experienced with the upperclass. Men and women who had sexual liasons with other partners and things that are done without remorse. Needless to say, the upperclass nor was the French government enthusiastic about the film. They outright banned it.
Renoir created a film that featured beautiful cinematography, well-paced but it took the viewer from its comedic ties to an ending that shocked viewers to the point they were disgusted, boo’ed and threw items on the front of the screen because they were upset. How could a film that could have been happy and a have a happy ending not be happy? With World War II approaching and Nazi Germany, the French viewers had no tolerance for such a film during that time and unfortunately, because of its failure, Renoir moved to Rome and then to the United States knowing he would be targeted or used by the Nazi’s.
Bare in mind, this was before the French New Wave. Before Godard, Chris Marker, Agnes Varda, Francois Truffaut, Eric Rohmer and others who would make their mark for their accomplishments for their works in cinema and doing their own thing. Going against what was normal in cinema and against what people typically expected. It was an exciting time in the 1960′s and these director’s praised the work of Jean Renoir and Jean Vigo.
For Alain Resnais and even Francois Truffaut, “The Rules of the Game” was significant as it showed them before their own careers of what cinema is capable of. In 1939, Jean Reno paid the price and although hailed for being one of the best masterpieces of all time, as much as Reno was happy, he paid the price. First, being forced to cut the film down to 81-minutes and then that version not surviving in the theater for a month and of course, losing the original cut of the film during World War II. It seemed too much but eventually he would rebound over a decade later when he worked on his first color film “The River”.
“The Rules of the Game” is a film that challenged social convention. In terms of cinematography, it was unique as lighting was timed, characters in the background walking and reacting are timed perfectly with the main talent seen on camera. Was this camera work inspirational to Orson Welles for “Citizen Kane”. Possibly. But technically, the film looked so free flowing and cuts were well-done. Call it avante-garde or call the film the inspiration for the French New Wave, this 106-minute version of the film is a version that people around that many French didn’t see.
A version that we get to see digitally remastered and restored and of course, with The Criterion Collection treatment, we get a lot of special features bundled with this release. It’s a fantastic release and its one of those films that may require several viewings but also helps to learn the backstory of the film and why it is so important in the history of cinema.
For those who owned the 2004 DVD release, many may wonder if the upgrade to the 2011 release is important? I do believe that the upgrade to the Blu-ray release is definitely worth it! But to upgrade from the 2004 DVD to the 2011 DVD, maybe and maybe not.
The main difference aside from the new technology used for remastering lies in the special features. Gone from this 2011 DVD release are the “Analysis of the Shooting Script” (text-based feature) and the “Tributes” (another text-based segment) but what you gain in this 2011 DVD release is the 27-minute Olivier Curchod Production History featurette. While I definitely would take a 27-minute featurette over a text-based special feature, it is all subjective to the viewer. But for the most part, this re-release was to bring “The Rules of the Game” for Blu-ray and for those who are new to Jean Renoir and don’t own a Blu-ray player, would get to enjoy the film via this new release.
I’m not going suggest you to watch or own this film because critics call it one of the greatest films of all time. But I do hope people watch this film, know its impact as a failed masterpiece in 1939, but then 20-years-later, becoming a golden masterpiece that was way ahead of its time and it took that long to be appreciated.
It’s quite interesting because Renoir and Orson Welles became good friends in Hollywood. Renoir told Welles that “an artist must be 20 years head of his time but it was harder for an artist of the cinema because the cinema insists upon being 20 years behind the public”. Like father, like son. Jean Renoir’s “La Regle du jeu” (The Rules of the Game) is a masterpiece and over 70-years later, is still on top of the list for many cinema polls as one of the greatest films of all time.
“The Rules of the Game” is highly recommended!
Le Beau Serge – The Criterion Collection #580 (a J!-ENT Blu-ray Disc Review)
September 14, 2011 by Dennis Amith · Leave a Comment
The first film of the French New Wave, Claude Chabrol’s “Le Beau Serge” is a wonderful film. A film that is not only visually beautiful but also showcases a mature, smart and courageous screenplay and directorial style by Claude Chabrol, who would later become the most prolific filmmaker of the nouvelle vague. “Le Beau Serge” is a wonderful Blu-ray release from the Criterion Collection!
Image courtesy of © 1958 Gaumont. All Rights Reserved. 2011 The Criterion Collection. All Rights Reserved.
TITLE: Le Beau Serge – The Criterion Collection #580
MOVIE RELEASE: 1958
DURATION: 99 Minutes
DVD INFORMATION: Black and White, 1:33:1 Aspect Ratio, Monaural in French with Optional English Subtitles
COMPANY: Janus Films/The Criterion Collection
RELEASE DATE: September 20, 2011
Written and Directed by Claude Chabrol
Produced by Claude Chabrol
Music by Emile Delpierre
Cinematography by Henri Decae
Edited by Jacques Gaillard
Starring:
Gerard Blain as Serge
Jean-Claude Brialy as Francois Baillou
Michele Meritz as Yvonne
Bernadette Lafont as Marie
Claude Cerval as the Priest
Jeanne Perez as Madame Chaunier
Edmond Beauchamp as Glomaud
Andre Dino as Michel, the Doctor
Michel Creuze as The Baker
Claude Chabrol as La Truffe
Of the hallowed group of Cahiers du cinéma critics turned filmmakers who transformed French film history, Claude Chabrol was the first to direct his own feature. His absorbing landmark debut, Le beau Serge, follows a successful yet sickly young man (Jean‑Claude Brialy) who returns home to the small village where he grew up. There, he finds himself at odds with his former close friend (Gérard Blain)—now unhappily married and a wretched alcoholic—and the provincial life he represents. The remarkable and stark Le beau Serge heralded the arrival of a cinematic titan who would go on to craft provocative, entertaining films for five more decades.
When discussion is brought up among cinema peers of nouvelle vague (The French New Wave), its easy to think of names such as Francois Truffau, Jean-Luc Goard, Eric Rohmer, Jacques Rivette. Individuals, colleagues and contemporaries who each worked for Cahiers du cinema before they became filmmakers.
But there is one man that was a colleague who may have not received the prestige as his contemporaries but is respected for his contribution towards cinema with his thrillers but also years of cinema as part of his oeuvre. The man I am talking about is Claude Chabrol.
While debated of which film kicked off the French New Wave, many regard Chabrol’s 1958 film “Le Beau Serge” (Handsome Serge) as the film that began the Nouvelle Vague. Feature films created by contemporaries of Cahiers du Cinema that went on to become filmmakers.
In fact, Francois Truffaut had given Chabrol the biggest compliment in 1958 for his directorial debut on “Le Beau Serge” saying, “Technically the film is as masterful as if Chabrol had been directing for ten years, though this is his first contact with the camera. Here is an unusual and courageous film that will raise the level of French cinema”.
If there is one thing that can be said about Chabrol, although his name is not as well known as Truffaut or Godard in America, and while “Le Beau Serge” is a long awaited release for a Chabrol film from the Criterion Collection, he still remains the most prolific filmmaker among his contemporaries who nearly has released a film every year since 1958 starting with “Le Beau Serge” and ending in 2009 with “Bellamy”, a year before Chabrol passed away.
For cinema fans, many have been wanting the Criterion Collection release of a Claude Chabrol film on DVD for a very long time but finally, the Criterion Collection will be releasing two Chabrol films, “Le Beau Serge” (1958) and “Les Cousins (1959) on Blu-ray and DVD in Sept. 2011.
“Le Beau Serge” is written and directed by Claude Chabrol and would star Jean-Claude Brialy (“A Woman is a Woman”, “The Phantom of Liberty”, “Elevator to the Gallows”) and Gerard Blain (“Hatari”, “Les Cousins”, “Le Mistons”). The film would also feature the beautiful cinematography of Henri Decae (“The 400 Blows”, “Le Samourai”, “Elevator to the Gallows”) and long-time Chabrol editor Jacques Gaillard.
“Le Beau Serge” is a film that revolves around Francois (Brialy) and his childhood friend Serge (Blain). Francois has returned to the village that he had grown up in 12-years later and while the village has remained the same, the people have changed.
For Francois, he is recovering from an illness in which he has decided that he will split his life living in the village he grew up with during the fall and winter, while spending his life at another village during the spring and sumer.
While Francois moved away from the village to the big city and did something with his life, his friends the baker (played by Michel Creuze) stayed and became the local baker, but his good friend Serge has become a drunk. This bothers Francoise because he expected big things from Serge but from what he hears from the local villagers, all Serge does is work and drink despite having a pregnant wife named Yvonne (played by Michele Meritz) who seems to make him unhappy.
On the first day since arriving to the village, Francois finds Serge drinking himself to a stupor with another local drunk named Glomaud (played by Edmond Beauchamp) and it’s a daily habit for Yvonne to go and get Serge and bring him home, while Glomaud’s daughter Marie (played by Bernadete Lafont) brings her father home. When Serge sees Francois, he begins crying but once again, Francois is shocked to see his old friend in such a way.
Meanwhile, as Francois tries to visit Serge, we learn that Serge is a truck driver who drinks on the job, after the job and at night and he is barely at home.
One day, while Serge is drunk and wanting to desperately speak to Francois, we learn that life changed for Serge as he became an alcoholic because of his stillborn child. He blames the baby for him being miserable as the pregnancy prevented him from pursuing his goals and now, he is stuck in the village, having a job that he doesn’t care about and in a marriage that he seems unhappy with. But it’s the life and survival that many people live with in the village.
For Francois, he has this bittersweet feeling of seeing how his friends, especially Serge has turned out and feels that maybe his presence in the city will be some good to Serge or his friends, despite the priest and others telling him that the village is not a good place for him and that he should return back to the city.
Can Francois help his friend Serge? Or will tense situations between him and Serge (who doesn’t want Francois’s help) end their friendship?
VIDEO:
“Le Beau Serge” is presented in black and white (1:33:1 aspect ratio) and immediately upon watching this film, you start to realize how beautiful this film looks, from the symmetry of objects to the chose angles and shots of the characters as they walk towards the camera, away from the camera or trying to incorporate the city into the film.
And as Henri Decae had shown in the 1956 film “Bob le Flambeur”, his cinematic style can be seen the following year through “Le Beau Serge”, “Elevator to the Gallows” and “The Lovers”. Beautiful cinematography and following the direction of Claude Chabrol who wanted to capture the look and feel of the city of Sardent in his film.
The film is over 50-years-old and on Blu-ray, the Criterion Collection did a wonderful job in making the film look absolutely beautiful. Black levels are nice and deep, contrast and showcasing the whites and blacks are beautiful and for the most part, “Le Beau Serge” doesn’t have any artifacts, edge enhancement nor did I detect anything negative in terms of overall picture quality. The film looks fantastic on Blu-ray!
According to the Criterion Collection, the new digital transfer was created in 2K resolution on an ARRISCAN film scanner from the original camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using Revival Flame, and Smoke, while Digital Vision’s DVNR system was used for small, grain and noise reduction.
AUDIO & SUBTITLES:
“Le Beau Serge” is presented in monaural French with English subtitles. Dialogue is clear, subtitles were easy to read and for the most part, the vocals were cleared and detected no hiss or crackle during my viewing of the film. If anything, I really enjoyed how Emile Delpierre incorporated music to this film, especially the quick music cuts whenever Serge or Glomaud are shown on screen.
According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical 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:
“Le Beau Serge – The Criterion Collection #580″ on Blu-ray comes with the following special features:
- Audio Commentary – Featuring a wonderful and in-depth commentary on Chabrol’s career and his work on “Le Beau Serge” by Guy Austin, author of “Claude Chabrol”.
- Claude Chabrol: Mon premier film – (51:36) A 2003 documentary by Francis Girod on the making of “Le Beau Serge” featuring interviews with Chabrol and Jean-Claude Brialy.
- “L’invite du dimanche” – (10:00) Segment from a 1969 episode of the French TV series in which Claude Chabrol revisits the town of Sardent, where “Le Beau Serge” was filmed and the village where he grew up in.
- Original theatrical trailer – (2:54) The original theatrical trailer for “Le Beau Serge”.
EXTRAS:
“Le Beau Serge – The Criterion Collection #580″ comes with an 16-page booklet, which includes the following essay “Homecomings” by Terrence Rafferty.
Hauntingly beautiful. These are the two words that I describe Claude Chabrol’s debut film “Le Beau Serge”.
An incredible feat. for the Cahiers du Cinema critic who produced, wrote and directed the film and I don’t know if I can categorize the film as a psychological drama.
The late Francois Truffaut described the film as a chess game and perhaps if you see the film in that perspective, it does make sense. You have Francois (Brialy) who once lived in a small village now from a big city who comes back into town. Francois is actually a nice man, non-intrusive nor does he flaunt to anyone that he is better than them because he lives in the city.
But for the villagers, it’s a preconceived notion that because he was able to move away from the village, he thinks he is better than they are.
I put myself in the shoes of Francois, also coming from a small town and having lived in the city and I know there are moments when I was younger in which I have flaunted to friends in town about the fact that the city is fun for its close proximity to shopping, beaches and as a young man, there were a lot of women. But looking back at it now, it was so trivial, so much of commodity fetishism in boosting one’s ego of the have’s to the have nots.
But I look at the situation that is presented in “Le Beau Serge”, he doesn’t flaunt but his presence in the village, wearing his nice clothing in front of those who are barely surviving and not so happy with life but have accepted their life in the village as final.
This is where I identify with Francois because when you go back, you want to help your friends, especially those you feel have so much potential to be something bigger. In the case of Serge, he is a man that had so many dreams, wanted to leave the village like Francois but got a young woman pregnant and found himself married and stuck in the village he desperately wanted to leave. He has kept this burden of having his first child dead at birth but knowing that the right thing to do is stick by your wife and living life to provide for one’s family but in his case, drowning all the sorrows away through drinking heavily.
I’ve known to many people like Serge in my life who live their life as is…miserable and unhappy inside but are traditional. While Francois had left the city and his big advice to Serge, “to leave his wife”. It may seem quite harsh but it is logical that if a man is unhappy with his marriage, you leave.
But with Serge, he knows with a baby along the way…he can’t leave.
But it’s the return of Francois that enhances Serge’s negative and jealous emotions. You would think that there would be an ebullient sense of emotion but with each meeting between both Francois and Serge, you feel this ominous feeling that things are not right.
We see a scene with Serge wanting to tell Francoise of why he became a drunk. Why he lives this lifestyle. Why he is so miserable but if Francois only solution is for Serge to leave his pregnant wife, it’s unacceptable.
And for Francois, he had forgotten how things were in his village and many who see potential within him want him to leave because he is better off than being back at home where many men do not aspire to be bigger, they just live life as is, even if its a life of effete, a lack of vitality that one can not escape. Life is what it is…you just live it, repeat it.
And of course, Francois seeing this…he wants to make a difference. But can he?
“Le Beau Serge” is a magnificent feat. for Claude Chabrol as his debut film. While his future in cinema may not have been as lucrative nor historic in comparison to his other contemporaries, the fact is Chabrol is a filmmaker who did things his way, his style and he continued to create films in 1958 with “Le Beau Serge” through 2009, a year before he died.
“Le Beau Serge” is a film that is mature but perhaps is also a film that brings Claude Chabrol back to his village of Sardent and is in someway a self-discovery of his present life and his past. The film is not autobiographical but it’s a film that Chabrol was proactive in making sure the village of Sardent, what he saw in terms of life was captured onscreen. And of course, the cinematography is quite beautiful and it helps to have one of the best cinematographer’s in French cinema at the time, Henri Decaë.
The film also has elements of Chabrol’s life as he also wanted to become a priest at one time and help people. The film was raw in the way that Chabrol created a film with a small cast and worked in familiar territory, his hometown with a potential of many extras alongside him.
But through its visual beauty and its complex characters but accessible storyline, “Le Beau Serge” is a film that started the Nouvelle Vague era of film critics of Cahiers du Cinema taking up the mantle of becoming filmmakers. He inspired his contemporaries because he was able to go through his own filmmaking route and create this film with his own personal vision without having to follow any big studio or producer. It was his film, no ifs, ands or buts.
Surprisingly, “Le Beau Serge” while adored by film critics, it was delayed to the point that when it was released in theaters, his second film “Les Cousins” would be released a month later and it was his second film that would actually become the commercial hit.
While “Le Beau Serge” doesn’t break any new ground, nor is it remembered as a non-traditional film when compared to Truffaut’s “The 400 Blows” and Godard’s “Breathless”, in 1958, it’s the fact that he was a man who had creative freedom to do what he wanted and capture the raw feel of his village onscreen with beautiful lighting and awesome performances by Brialy and Blain that make “Le Beau Serge” worth watching.
Once again, I applaud the Criterion Collection for bringing Claude Chabrol films to their collection but also giving both “Le Beau Serge” and “Les cousins” the Blu-ray treatment. The Blu-ray release looks fantastic and the addition of the documentary of Chabrol returning back to Sardent and watching these classic interviews is priceless!
Overall, if you are a Chabrol fan, a cinema fan or brand new to cinema and want important films in your cinema collection, then “Le Beau Serge”, the first film of the French New Wave is definitely recommended!
My Life as a Dog – The Criterion Collection #178 (a J!-ENT Blu-ray Disc Review)
September 11, 2011 by Dennis Amith · Leave a Comment
Make no doubt about it, Lasse Hallström “My Life as a Dog” is one of the better coming-of-age films in cinema with a believable performance by the young Anton Glanzelius. Touching, heartbreaking and real…”My Life as a Dog” is highly recommended!
Image courtesy of © 2011 The Criterion Collection. All Rights Reserved.
TITLE: My Life as a Dog – The Criterion Collection #178 (Mitt liv som hund)
MOVIE RELEASE: 1985
DURATION: 95 Minutes
DVD INFORMATION: Color, 1:66:1 Aspect Ratio, Monaural in Swedish with Optional English Subtitles
COMPANY: Janus Films/The Criterion Collection
RELEASE DATE: September 13, 2011
Directed by Lasse Hallstrom
Based on the Novel by Reidar Jonsson
Written by Lasse Hallstrom, Reidar Jonsson, Brasse Brannstrom, Per Berglund
Produced by Waldermar Bergendahl
Music by Bjorn Isfait
Cinematography by Jorgen Persson
Edited by Christer Furubrand, Susanne Linnman
Production Design by Lasse Westfelt
Set Decoration by Tove Hellbom, Pontus Lindblad
Costume Design by Susanne Falck, Inger Pehrsson
Starring:
Anton Glanzelius as Ingemar
Tomas von Bromssen as Morbror Gunnar
Anki Liden as Ingemars Mamma
Melinda Kinnaman as Saga
Kicki Rundgren as Moster Ulla
Lennart Hjulstrom as Konstnaren
Ing-Marie Carlsson as Berit
Leif Ericson as Farbror Sandberg
Christina Carlwind as Fru Sandberg
Ralph Carlsson as Harry
Viveca Dahlen as Tvattande Kvinna
Arnold Alfredsson as Mannes farfar
Fritz Elofsson as Master
Didrik Gustavvson as Mr. Arvidsson
Jan-Philip Hollstrom as Manne
Vivi Johansson as Tant Arvidsson
My Life as a Dog (Mitt liv som hund) tells the story of Ingemar, a twelve-year-old from a working-class family sent to live with his uncle in a country village when his mother falls ill. There, with the help of the warmhearted eccentrics who populate the town, the boy finds both refuge from his misfortunes and unexpected adventure. Featuring an incredibly mature and unaffected performance by the young Anton Glanzelius, this film is a beloved and bittersweet evocation of the struggles and joys of childhood from Oscar-nominated director Lasse Hallström.
Filmmaker Lasse Hallström is probably best know as the director behind the music videos of Swedish disco group ABBA but Hallström is also known for several major hits such as “Chocalat” (2000), “The Cider House Rules” (1999), “What’s Eating Gilbert Grape (1993) and most recently for directing “Hachi: A Dog’s Tale” (2009). But in 1985, Lasse Hallström was known for his Swedish film “My Life as a Dog” (Mitt liv som hund), a film based on the novel by Reidar Jonsson.
The film was won various awards in different countries, including the USA winning the 45th Golden Globe Awards for “Best Foreign Language Film” and was nominated for an Academy Award for “Best Director” and “Best Writing, Screenplay Based on Material from Another Medium”.
The film was released on DVD by the Criterion Collection back in 2003 but now the film has been selected for release on Blu-ray for Sept. 2011.
“My Life as a Dog” is a coming-of-age film that revolves around a 12-year-old boy named Ingemar (played by Anton Glanzelius), a boy who loves his mother and his dog Sickan but while he has a caring heart towards his mother and dog, Ingemar also tends to get into trouble.
From the beginning of the film and throughout the film, Ingemar narrates the story about his relationship with his mother and his dog but also talking about the dog Laika (the dog that the Soviets launched to space and is the first animal to orbit the Earth but also die in orbit), who he tends to compare himself with.
Unfortunately, his mother (played by Anki Liden) who is really sick (and knows she is very sick because she coughs up blood) tries to keep her children unaware of how sick she is but at the same time, her two songs drive her up the wall because of the trouble they get into and cause her to cry in tears.
In one scene, the boys convince Ingemar to put his penis in a bottle and it gets stuck inside, another situation involves him and his childhood girlfriend getting caught by the father holding each other in a bridge and then while running away and hiding in a junk yard, he accidentally burns down the area.
Needless to say, it’s too much trouble for his mother and it’s the last thing she needs to deal with while she is sick.
Because she is sick, Ingemar is sent to stay with his uncle Gunnar (played by Tomas von Bromssen) and his wife Ulla (played by Kicki Rundgren) in the rural town of Smaland, while his brother stays with his mother’s brother. As for his dog, he is told that his dog will be staying at the kennel.
As Ingemar stays with his uncle Gunnar, he actually is in his best behavior. He learns how to play soccer and becomes a member of the soccer team, makes friends in the new town and draws the attention of Saga (played by Melinda Kinnaman), a tomboy who is looked as the main jock in the village but as a girl, she knows that she can only keep the jock image for so long as she is growing breasts and she finds herself starting to like Ingemar.
While living with his uncle, he reads a lingerie catalog to the elder Mr. Arvidsson (played by Didrik Gustavsson) and also does some work at the glass factory (where many people in town work). But while he is living at the new location, it is only temporary and after the summer is over, he is back at home with his mother who is very sick and is bedridden.
For Ingemar, he thinks his mother is tired from all the reading she does but only his oldest brother and relatives understand the severity of her sickness.
Unfortunately, his mother gets very sick and both go to live with their Uncle Sandberg (played by Leif Ericson) but his wife is not so happy that the two have to live with them and when his mother passes away, he once again heads back to the village to stay with his Uncle Gunnar.
But this time things have changed. His Uncle Gunnar and his wife Ulla stay at a home which is owned by the glass factory and now they must share the house with a large Greek family and for Ingemar, there is no place for him to stay.
He can’t understand why he is unwanted by his mother, his relatives and he starts to think that maybe he is like Lakia. Forced to go into space with no one to take care of it or get it back down and eventually, the animal dies.
But this time around, Ingemar starts to wonder about his life with his mother…Why did she die? Was it his fault?
VIDEO:
“My Life as a Dog” is presented in 1080p High Definition, color (1:66:1 aspect ratio). And compared to the original DVD release, the film looks much better. Grain is evident, there are a few white specks but the close-ups showcase the details of the film and the contrast of the film looks good. I’m typically critical of many films on Blu-ray that are from the early to mid-’80s because they tend to look overly soft, but in the case of “My Life as a Dog”, the picture quality is good.
According to the Criterion Collection, the new digital transfer was approved by Lasse Hallstrom and was created on a Spirit 2K Datacine from a 35 mm interpositive struck from the original nitrate negative. 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 system, while Digital Vision’s DVNR system was used for small dirt, grain and noise reduction.
AUDIO & SUBTITLES:
“My Life as a Dog” is presented in Swedish monaural with English subtitles. The film is dialogue driven and dialogue is crystal clear through the center channel.
According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical 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:
“My Life as a Dog – The Criterion Collection #178″ on Blu-ray comes with the following special features:
- Shall We Go to Your or My Place or Each Go Home Alone? – A fifty-two-minute film from 1973 by Hallström, with a video introduction by the director.
- Video interview with Hallström – (18:25) A 2002 interview with Lasse Hallström who talks about the film, the characters and the original novel by Reidar Jonsson.
- Original theatrical trailer – The original theatrical trailer for “My Life as a Dog”.
EXTRAS:
“My Life as a Dog – The Criterion Collection #178″ comes with an 18-page booklet, which includes the following essay “Child’s-Eye View” by Michael Atkinson and “Sweet Operation” by Kurt Vonnegut.
When you watch films about one’s childhood, more often there is a banality in these coming-of-age films.
Too many tend to incorporate a Hollywood style that has too much of a similarity of past films, but when you look for reality, there are films that feel realistic and you find yourself moved by it.
I have to say that “My Life as a Dog” is one of those films. A touching and yet heartbreaking coming-of-age film from filmmaker Lasse Hallström that resonates deeply with viewers as it gives us a perspective of a young boy who loses his family and like his own dog and the Soviet dog who died in space, Lakia, the pain he feels of being unwanted. But also in someway, feeling like he is no different from a dog who is placed in the kennel or in outerspace with no one to love or care for them.
This is a genuine feeling for any young child who loses their family, especially their parent(s) but what makes “My Life as a Dog” so entertaining is showcasing the purity of a child but also learning about “grown-up” things through the adults.
In the beginning, we see Ingemar and his best friend, a girl, who establish this bond that they will be together…forever. And to showcase their bond, they tend to hug and hold each other under a bridge while the train goes by. We see another situation of the purity of Ingemar as Saga, the tomboy is growing breasts and she tells Ingemar to help her wrap her chests, so she can continue to be involved in sports and be treated just like the guys.
Ingemar doesn’t look at these girls sexually, to him…they are just normal young people his age that he plays with. But at the same time, we see how he is thrusted into this new world where he sees all these glassmakers (including his uncle) gawking at the blonde beauty who works at the glass factory. The woman asks Ingemar to accompany her while she poses nude for a sculptor (granted, he is kept in another room), but the only questions he asked by his uncle is if he saw anything. Of course, the curiosity of a child of being asked such a thing, “Why am I being asked such a question… Should I be looking for something?”.
He is also asked by the elder that lives in the basement of his uncle’s home to read a lingerie catalog. Once again, for young Ingemar, he doesn’t know why he is reading these to the adults but it’s those questions that start to peak his curiosity.
Needless to say, it’s a situation that leads to Ingemar trying to find out more about why older men are into the body of an older woman and these are quite interesting “coming-of-age” moments during the film.
But of course, the film is not about a child learning about sex, it’s a film about him slowly learning how life is difficult because he compares himself to his dog Sickan who is taken away from him and the family and is supposedly staying at a kennel (when in truth, it’s probably being killed) or Lakia, the dog that the Soviets put into space. Is there anyone caring for these animals? Or are they just displaced by humanity that no one cares about them.
And in Ingemar’s case, he feels unwanted. He is too young to understand his mother’s sickness but in his mind, he feels that he may have contributed to her death because of him getting into trouble. But it’s him learning how no one in the family wants him to live with him. His uncles don’t want him living in the same house and he is forced to live with an elderly woman who is lonely.
Needless to say, for a young boy, being separated from your mother and brother and the dog you love and now pretty much living away from family is difficult for any young boy to comprehend and I found those scenes t be quite heartbreaking but emotionally, the efficacy of the film is due to the talent of young Anton Glanzelius to showcase that purity of a child, the not knowing what will come next and needless to say, Lasse Hallström definitely found the right boy for the role.
With that being said, it’s important to note that some viewers may have a problem with a scene that involves Saga (the 12-year-old girl) showing her breasts to Ingemar. It’s not a sexual scene but if shown in America, you have no doubt in your mind that today’s film censors would have a problem with it. Needless to say, I figured this should be mentioned for viewers who may be sensitive to it.
The Bu-ray release does contain the two special features that the original DVD had. The 2002 interview with Lasse Hallstrom is included as well as Hallstrom’s first film”Shall We Go to Your or My Place or Each Go Home Alone?” (1973) are included as well.
Overall, “My Life as a Dog” is a fantastic coming-of-age film that doesn’t fit into the banality of similar type of films. The performance by the young Anton Glanzelius was wonderful and also the direction and choice made by director Lasse Hallstrom on what to focus on in the screenplay based on Reidar’s novel (as the novel from what I have heard is quite dark).
Make no doubt about, “My Life as a Dog” is one of the better coming-of-age films out there. Touching, heartbreaking and real…”My Life as a Dog” is highly recommended!
Orpheus – The Criterion Collection #68 (a J!-ENT Blu-ray Disc Review)
August 18, 2011 by Dennis Amith · Leave a Comment
One of the greatest, visually poetic films of all time. Jean Cocteau’s “Orpheus” (the second film of “The Orphic Trilogy”) is a wonderful film and those who owned the previous box set will definitely want to pick this Blu-ray release up because it contains plenty of new, lengthy special features. Highly recommended!
Image courtesy of © Comite Cocteau, 1950. 2011 The Criterion Collection. All Rights Reserved.
TITLE: Orpheus – The Criterion Collection #68 (Orphée)
MOVIE RELEASE: 1950
DURATION: 95 Minutes
DVD INFORMATION: Black and White, 1:33:1 Aspect Ratio, 1:19:1 Aspect Ratio, Monaural in French with Optional English Subtitles
COMPANY: Janus Films/The Criterion Collection
RELEASE DATE: August 30, 2011
Directed and Written by Jean Cocteau
Executive Producer: Andre Paulve
Music by Georges Auric
Cinematography by Nicolas Hayer
Edited by Jacqueline Sadoul
Production Design by Jean d’Eaubonne
Set Decoration by Albert Volper
Costume Design by Marcel Escoffier
Starring:
Jean Marais as Orphee
Francois Perier as Heurtebise
Maria Casares as The Princess – Death
Marie Dea as Eurydice
Henri Cremieux as L’editeur
Juliette Greco as Aglaconice
Roger Blin as The Poet
Edouard Dermithe as Jacques Cegeste
Jean Cocteau’s update of the Orpheus myth depicts a famous poet (Jean Marais), scorned by the Left Bank youth, and his love for both his wife, Eurydice (Marie Déa), and a mysterious princess (Maria Casarès). Seeking inspiration, the poet follows the princess from the world of the living to the land of the dead, through Cocteau’s famous mirrored portal. Orpheus’s peerless visual poetry and dreamlike storytelling represent the legendary Cocteau at the height of his powers.
In French cinema, there are many filmmakers named Jean Renoir, Jean Vigo, Jean-Luc Godard, Jean-Pierre Melville, to name a few. But among these filmmakers who really never craved the spotlight was Jean Cocteau. A proud man with humility and creative talent that extends beyond cinema.
Before Cocteau was a playwright, a screenwriter, a director…he was one of the most prestigious, talented poets living in France.
At a young age, similar to Jean Vigo who suffered through pain throughout his childhood after the death of his father, Jean Cocteau lived a different life. Coming from a prominent family, like Vigo, at a young age, Jean Cocteau lost his father (who committed suicide).
Where a filmmaker like Vigo had cinema at a young age to escape reality, Cocteau had poetry.
In fact, his first volume of poems titled “Aladdin’s Lamp” was created at the age of 19 and would eventually become popular through his poetry.
But it was World War I which changed Cocteau. He would meet poet Guillaume Apollinaire, artist Pablo Picasso and Amedeo Modigliani and would later collaborate with many talents which include Russian choreographer Sergei Diaghilev, who persuaded the poet to write a scenario for his ballet “Parade” in 1917.
As one of the great poets, the introduction to writing for a ballet would lead him to writing and directing plays but also novels. Among the novels he is known for are “Les Enfants Terribles” (1929), “The Blood of the Poet” (1930), “Les Parents Terribles” (1948), “Beauty and the Beast” (1946) and “Orpheus” (1949).
In 1930, is Cocteau’s “The Blood of a Poet” would be the first film that would become the start of a trilogy known as “The Orphic Trilogy”, followed by film adaptations of his novels “Orphee” and “Testament of Orpheus” (1960). The trilogy which are not connected to each other in terms of story would showcase Jean Cocteau the writer, the poet, the novelist, the playwright and filmmaker. Utilizing the Orphic myth to explore the relationship between artist and their creations, reality and imagination.
In 2000, the Criterion Collection released “The Orphic Trilogy” on DVD but recently, Cocteau films/works are now being released in the US by the Criterion Collection on Blu-ray. While “Beauty and the Beast” is the first Cocteau film to be released on Blu-ray in America, the second is “Orpheus” (Orphee) which is also the second film of “The Orphic Trilogy”.
A film that remains poetic and influential for many artists today. In fact, for music fans, an image from the film is used in the Smith’s single “This Charming Man”, the music video for “Take On Me” was inspired by “Orpheus” and radio messages from the film were sampled in “DJ Culture” by the Pet Shop Boys. And in 2010, the film was voted in Empire Magazine’s “100 Best Films of World Cinema”.
And while the film has its place in cinema and also pop culture, from a cultural, poetic and creative artist such as as Jean Cocteau, its the symbolic nature of the film, people who want to delve further into the life of Jean Cocteau and the era of when the film was written, to grasp how World War II had an impact in the making of the film but also, at 60-years-old, “Orpheus” was also a film that included elements of how Cocteau was feeling about his past-life, how he felt about his peers.
How he saw the new generation of poets being free, but at the same time, showing disdain towards how they lived their lives. A different experience when Cocteau was younger.
But as for the story of “Orpheus”, it was a chance for the talented artist to bring his passion but also part of his life to cinema. In a much different style than what he had done years earlier with “Blood of a Poet”.
“Orpheus” is a story that begins with the Greek myth of the legendary musician, poet and prophet Orpheus. The Man who has the ability to charm all living things through his music.
But one day, his wife Eurydice died after being bitten by a viper. Orpheus attempted to retrieve his wife from the underworld and his music managed to soften the hearts of Hades and Persephone. Orpheus is told that Eurydice will be given a chance on one condition, he could never look at her ever again until they reach the upper world. While going back to the upper world, he accidentally looks at her right before he and Eurydice reach the upper world and loses her forever.
The film then switches to modern day Paris, as the famous poet Orpheus (played by Jean Marais) meets with his editor (played by Henri Cremieux), a rich woman known as the Princess (played by Maria Casares) comes out of a Rolls Royce to help a drunken young man named Cegeste (played by Edouard Dermithe).
As some of the men at the cafe try to talk and flirt with the woman, Cegeste becomes jealous and a brawl ensues. The police come in and arrest Cegeste but as Cegeste tries to make a run for it, he is run over by two motorcyclist.
Instead of calling the hospital, the Princess tells the police to bring Cegeste into her car. She sees Orpheus and tells him to join her in the car as he is a witness of what happened.
Thinking that he may be going to a police station, the Princess is vague of where they are going and instructs her driver to drive out to an unknown area. Orpheus tells her that the young man, Cegeste is dead but the Princess keeps rejecting each question that Orpheus tries to ask. During their drive, unusual radio announcements are being played inside the car.
As the Princess and the motorcyclist carry the dead young man to a room, Orpheus is surprised to see unusual things happen. The Princess is able to bring the dead Cegeste back to life and to make things even more surprising, she and Cegeste, along with the two motorcyclist walk into a mirror and disappear.
As Orpheus goes towards the mirror, he is shocked of what has happened and thinks it is all a dream.
When he wakes up in the morning, he tries to talk to the driver named Heurtebise of what happened? And Heurtebise tries to answer the best he can.
Meanwhile, at Orpheus’ home, his wife Eurydice is worried that something bad may have happened to him. Pregnant and wanting to share the good news with him, Orpheus is driven to wanting to meet the mysterious woman, the Princess, he met the other day. And rather spend his time going into the car that Heurtebise drives and listening to the radio in hopes of getting close to her.
Meanwhile, Heurtebise starts to fall for Eurydice and wants to be with her and comfort her because Orpheus is hardly there to talk to her.
But we learn that Heurtebise is not a normal person, nor is the Princess. The Princess is actually death and Heurtebise works for death. And for some reason, both are interested in taking the lives of Orpheus and Eurydice but for what reason? Is it because Death has fallen for Orpheus? Heurtebise has fallen for Eurydice?
And what about Orpheus’ love for Eurydice? Has Death won his heart?
“Orpheus” is one of cinema’s celebrated, visually poetic films ever created and a true representation of the creative genius of writer/director Jean Cocteau.
VIDEO:
“Orpheus” is presented in 1080p High Definition, black and white (1:33:1 aspect ratio). As a previous owner of “The Orphic Trilogy” DVD Box set, as expected from the Criterion Collection, the contrast of the film looks fantastic! Black levels are inky and deep, contrasting whites and grays are magnificent and while there may be signs of mild flickering at the beginning, by no means does it ruin one’s viewing pleasure of this 1950 film.
According to the Criterion Collection, the new digital transfer was created in 2K resolution on a Spirit 2K Datacine from a 35 mm fine-grain internegative struck from the original nitrate negative. The restoration of Orpheus was carried out in a collaboration with the Archives francaise du film in Bois-d’Arcy, France, under the supervision of assistant director Claude Pinoteau. 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 system, while Digital Vision’s DVNR system was used for small dirt, grain and noise reduction.
AUDIO & SUBTITLES:
“Orpheus” is presented in French monaural with English subtitles. The film is dialogue driven and dialogue is crystal clear through the center channel.
According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical 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:
“Orpheus – The Criterion Collection #68″ on Blu-ray comes with the following special features:
- Audio commentary – An excellent and in-depth audio commentary byFrench-film scholar James S. Williams.
- Edgardo Cozarinsky’s “Jean Cocteau: Autoportrait d’un Inconnu (Autobigraphy of an Unknown) – (1:08:51) The longest feature of this entire DVD is the 1984 documentary about Jean Cocteau. For those interested in knowing more about the filmmaker/poet, this documentary is very informative as Cocteau talks about his childhood, his artistic contemporaries and more.
- In Search of Jazz – (17:38) An interview from April 24, 1956 as Cocteau discusses the use of music in his films.
- Jean Cocteau and His Tricks – (13:29) A 2008 video interview with assistant director Claude Pinoteau by Marc Cairo.
- 40 Minutes with Jean Cocteau – (40:37) From an interview back in August 28, 1957, for the TV series “At Home With…” featuring Francois Chalais talking to Jean Cocteau.
- La villa Santo-Sospir – (36:26) Jean Cocteau’s 16 mm color film from 1951. A visit of Francine Weisweiller’s Villa in Saint-Jean-Cap-Ferat, on Côte d’Azur, which was decorated by Jean Cocteau.
- Gallery of images by French-film portrait photographer Roger Corbeau – Using your remote (or computer arrow button), you can scroll through a gallery of images.
- Saint-Cyr Military Academy Ruins – (1:41) Raw newsreel footage from 1950 of the , a location used for “The Zone” in “Orpheus”.
- Theatrical trailer – (3:31) Theatrical trailer for “Orpheus”.
EXTRAS:
“Orpheus – The Criterion Collection #68″ comes with a 30-page booklet, which includes the following essays: “Through a Glass, Amorously” by Mark Polizzotti, “Cocteau on Orpheus”, “Cocteau’s La villa Santo-Sospir” by James S. Williams.
Filmmaker Francois Truffaut once asked the question, “Do we still have to prove how important a filmmaker Jean Cocteau is?”
In 2011, there is no arguing of Jean Cocteau’s place in cinema. There is no arguing how influential and how multi-talented he was not only as a poet, a playwright, novelist, filmmaker, etc. He was a person who embodied the life of artistic creation and a man who lived life at the beat of his own drum. A man who lived with humility and lived a long life of being wanted because of his talent.
I use a juxtaposition with Jean Vigo and Jean Cocteau, not to compare their talent but to show how a few films created by these two individuals, would remain as an inspiration for other filmmakers not just in the ’50s but also to filmmakers today.
For Cocteau, while “The Blood of a Poet” and “Testament of Orpheus” were very different kind of films when compared to “Orpheus”, many probably were attracted or repulsed by the level of surrealism in his films, “Orpheus” was not surreal but it was poetic in nature, especially when you work with an actor such as Jean Marais.
You just don’t see films like Cocteau films. Others have their own way of taking on surrealism, but when you have a creative poet wanting to make poetry visual for cinema, its a rarity in cinema.
There is a visually poetic and creative way he directs his talent but also knows what to get out of them. From the way the film is acted, it is like watching a play as Orpheus reactions when he comes home to his wife and is haunted by his exchange with the Princess (Death). From the scene where he wakes up on top of the mirror on the sand, it’s a classic yet artist shot or when we see Death coming out of the mirror to visit Orpheus when he is asleep.
It’s a fantastic blend of fantasy and reality which we have seen before, especially in “Beauty and the Beast”. A whimsical probe of a character done intelligently, a bit of surrealism but a film that show us why Cocteau is an important and unique filmmaker with a style that can never be duplicated.
These are intoxicating images that are strong, beautiful and you feel almost as if you are part of that dreamlike environment that the characters are part of. There have been films where one tries to reach out to their dead spouse, but the film is more sci-fi in nature because of the focus and over-reliance of visual effects.
The people from the netherworld are not shown in demonic forms. Death is not the typical look of a robe with a hand holding a sickle, death is beautiful, death is emotional, death wants to find love in Orpheus, as Orpheus also finds love in the death. And that is something that should not happen.
The film shows us the anguish each side feels towards the unknown. Death loves Orpheus, who loves Death but also loves his wife Eurydice who loves him, but feels alone because of his focus is more on lady death and thus, we see one man staying with her (Heurtebise) when the other, Orpheus is consumed with his passion to find death.
Sure this is somewhat a modern 1950′s retelling of the Greek myth but who else can craft something so genius and mesmerizing? No other than Jean Cocteau. And suffice to say, if you watch “Blood of a Poet” and then you go this film, you realize how far the filmmaker has come since his last film.
But when it all comes down to it, there is nothing like “Orpheus”. It’s a great film and its exciting to see The Criterion Collection bring this out on Blu-ray but most importantly, to showcase the career of Jean Cocteau through many lengthy special features.
I know that many of the Jean Cocteau fans own “The Orphic Trilogy” and in some cases, typically when Criterion releases a classic that was on DVD for Blu-ray, the special features are the same.
In this case, it is not the same. The original DVD version of “Orpheus” didn’t come with hardly any special features but the other films included in the trilogy did. The 1984 documentary and “Villa Santo Sospir” were included in the trilogy DVD box set on the discs of “The Blood of a Poet” and “Testament of Orpheus” but everything else on this Blu-ray is new.
From listening to the in-depth and wonderful commentary and just the sheer amount of well-done documentaries and also classic interviews, this Blu-ray release of “Orpheus” is a wonderful tribute to Jean Cocteau.
And I can tell you right now, because of the enhanced picture quality, the booklet and the additional special features, “Orpheus” on Blu-ray is obviously worth the upgrade, especially if you are a Jean Cocteau fan. It’s a 5-star release and I give it my highest recommendation.
But with that being said, for the newbie Criterion Collection fans who are used to more literal storylines, Jean Cocteau films, especially “Orpheus” is creative and is visually poetic, for some people, Cocteau’s films may not be for them. “Orpheus” may not be for them. It takes an appreciation of Cocteau’s work and his style to really enjoy this film.
So, for those who adore Cocteau’s films, especially “The Orphic Trilogy”, will be happy to know that with this Blu-ray release, you are not only getting a better version of the film to date, there are also a good number of special features included.
Once again, another fantastic Blu-ray release from the Criterion Collection that is highly recommended!
The Battle of Algiers – THE CRITERION COLLECTION #249 (a J!-ENT Blu-ray Disc Review)
August 9, 2011 by Dennis Amith · Leave a Comment
Stunning, gripping, shocking and as relevant as it was in the 60′s, it is even relevant today! Gillo Pontecorvo’s 1966 masterpiece is given the best treatment on Blu-ray by the Criterion Collection and is absolutely a must-own Blu-ray release for cinema fans! Highly recommended!
Image courtesy of © 1966 Casbah Films, Inc. All Rights Reserved.
TITLE: The Battle of Algiers – The Criterion Collection #249
MOVIE RELEASE: 1966
DURATION: 121 Minutes
DVD INFORMATION: Black and White, 1:85:1 Aspect RatioMonaural in French and Arabic with Optional English Subtitles
COMPANY: Janus Films/The Criterion Collection
RELEASE DATE: August 9, 2011
Directed by Gillo Pontecorvo
Based on the true story by Saadi Yacef
Written by Gillo Pontecorvo, Franco Solinas
Executive Produced by Fred Baker
Produced by Antonio Musu, Yacef Saadi
Cinematography by Marcello Gatti
Edited by Mario Morra, Mario Serandrei
Production Design by Sergio Canevari
Set Decoration by Sergio Canevari
Costume Design by Giovanni Axerio
Starring:
Brahim Hadjadj (Haggiag) as Ali La Pointe
Jean Martin as Col. Mathieu
Saadi Yacef as El-hadi Jaffar
Samia Kerbash – Fatiha
Ugo Paletti – Captain
Fusia El Kader a Hassiba
Mohamed Ben Kassen as Petit Omar
One of the most influential political films in history, Gillo Pontecorvo’s The Battle of Algiers (La bataille d’Alger) vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s. As violence escalates on both sides, children shoot soldiers at point-blank range, women plant bombs in cafés, and French soldiers resort to torture to break the will of the insurgents. Shot in the streets of Algiers in documentary style, the film is a case study in modern warfare, with its terrorist attacks and the brutal techniques used to combat them. The Criterion Collection is proud to present Gillo Pontecorvo’s tour de force—a film with astonishing relevance today.
It was 1966 when the film “The Battle of Algiers” (La battaglia di Algeri) was released to the masses. A war film about the war in Algiers covering what took place between November 1954 through December 1960, during the Algerian War of Independence and director Gillo Pontecorvo covered both sides between the Muslim Algerians fighting for Independence and the French who were fighting against terrorism. The film is regarded as an important classic and is Pontecorvo’s masterpiece. The film won the Venice Film Festival Grand Prize, nominated for three Academy Awards for “Best Screenplay”, “Best Director” and “Best Foreign Language Film”.
The film gained notoriety as it had the reputation for inspiring political violence and tactics from the film were copied by the Black Panthers and Provisional Irish Republican Army. The film was banned in France for five years and the original American and British releases cut any scenes involving the French torture of Muslim Algerians.
But the film was also looked at as useful for training as the film was shown as part of counter-insurgency classes in the 60′s. Shown in Israel by the Left-Wing to show that Israel’s occupation in the West Bank and Gaza Strip was futile. And in 2003, the film was screened at the Pentagon with a flier for the screening being circulated as “How to win a battle against terrorism and lose the war of ideas. Children shoot soldiers at point-blank range. Women plant bombs in cafes. Soon the entire Arab population builds to a mad fervor. Sound familiar? The French have a plan. It succeeds tactically, but fails strategically. To understand why, come to a rare showing of this film.”
For years, people only had access to pirated copies of the film and censored versions until restoration was done in 1999 and was obtained by Rialto Pictures for distribution. The Criterion Collection released “The Battle of Algiers” with a special 3-disc DVD set (released back in 2004) that is to say the least, was fantastic and possibly one of the most complete, in-depth Criterion releases I have yet seen to date.
And now in 2011, this fan-favorite Criterion release is now available on Blu-ray!
It’s important to note that in this film, there were no news or documentary footage used in the making of the film. The mass crowds and everything you seen for the film was shot by Pontecorvo and crew.
The film covers a time when Algiers was part of French Colonial rule (which lasted from 1830 to 1962) and a place where hundreds of thousands of European immigrants (who have been given the name of “pieds-noirs”) moved settled in the country of Algeria in North Africa which is home to Muslims. Back then, everyone but the Muslims were given rights similar to France and thus fueled many who wanted political autonomy and independence from France. Because the Muslims were not given a voice, it led to a new wave of violence in the city of Algiers which came in full force in 1954.
The film begins with French soldiers under Colonel Matthieu (played by Jean Martin) who have tortured a Muslim to the point of breaking. They dress him in French soldier fatigues in order to get him to talk about where the insurgents belonging to the FLN (National Liberation Front) are hiding and then when the soldiers have stormed a building where three of the FLN are hiding behind a wall. We see the face of Ali La Point (played by Brahim Hadjadj).
The movie then shifts to 1954 where the FLN are trying to recruit people to fight against the French and fight for their independence. For Ali, he tries to make money (hustling) where people are gambling on the street but immediately, the police start coming after him. While running away, a group of young French youth seeing Ali running away and one guy tripping him, this leads to Ali punching him in the face. Then the French youth start beating on him and Ali is apprehended by the police. Ali receives two years in prison for vandalism and insulting a police officer on duty.
It is when Ali is incarcerated in which he sees how fellow Muslims are treated. In one scene, one man is executed via beheading. Upon his release from prison, he receives a note that he is to to kill a policeman. It is a test by the FLN to see if Ali, would do such a thing in which he nearly does and immediately meets El-hadi Jaffar (played by Saadi Yacef) who recruits him to the FLN, which is a budding organization who wants to grow their numbers and eradicate their society from whores, drunks and junkies but first they must win them over or eradicate them.
We then see a large group of young children who have been recruited by the FLN, going after a drunk and beating him. Then we see Ali going to a drug dealer, a former friend of his and giving him one last chance to join the FLN or die. The man attacks Ali, prompting Ali to shoot him down. By 1956, we see the members of the FLN consisting of young adults and teenagers murdering Algerian police officers and stealing their weapons. The French civilians have grown weary towards the Muslims and each time there is an attack, they immediately lay blame to any Muslim nearby.
With the number of deaths of police officers, we then see a French police chief who is told to have a curfew in the city, make sure the police stations are well-guarded, closing off streets but he doesn’t agree and thus he and a few French civilians take matters into their own hands by placing a bomb in the middle of a Muslim neighborhood in which many innocent families, children are killed. This incident is what leads to Muslims starting get together and many joining the FLN to fight for their independence.
What transpires afterward is more violence as women working for the FLN now disguised as normal civilians have now gone to public civilian hangouts such as clubs and cafe’s and placing bombs and thus in the process of retaliation, killing innocent French civilians. In 1957, the French sends a large group of French paratroopers from the 10th Airborne Division led by Col. Matthieu to take on the rebel activity in Algiers by rounding up anyone who can deemed as terrorists and interrogating and torturing them for information.
Matthieu’s goal is to capture or kill those who are leading the group of FLN insurgents which include Ali La Pointe and El-hadi Jaffar. Squashing the FLN and winning the battle of Algiers.
And as we know from history from this battle, the French won the battle of Algiers but because of what these soldiers did to Muslims, it gave the Muslims more strength in numbers to fight back and in essence, leading the French to lose the war and giving the Algerians their independence.
The significance of director Gillo Pontecorvo’s “The Battle of Algiers” is that it was released in theaters three years after the Algerian war where tensions were still strong, Pontecorvo’s ability to recreate situations that transpired during 1954-1962 and most importantly, to have one of the largest mass crowds used in a film. It’s relevance today is because in this film we see children becoming soldiers, innocent Muslims who had nothing to do with destruction being targeted by civilians, women dressed as normal citizens planting bombs in civilian areas such as cafe’s and dance clubs but also the French soldiers who rounded up people they believe were insurgents and tortured them. Pontecorvo wanted to show the perspective from both sides of the war. The side of the Muslim Algerians who fought for their independence and had enough of their people being killed or held by French authorities and on the French side, the civilians rooting for the military trying to stop the violence brought by the Muslim terrorists.
To say the least, the film is quite epic and what was accomplished by Pontecorvo is amazing and what the Criterion Collection was able to do several years ago on DVD is made even better by seeing how awesome this film looks on Blu-ray.
VIDEO:
“The Battle of Algiers” is presented in 1080p High Definition, black and white with an aspect ratio of 1:85:1. Compared to the original DVD release, black levels are much deeper, much better detail and contrast compared to the DVD release (considering how awesome the original DVD release was), picture quality has much better contrast. Granted, it’s not super-pristine, considering this is a 1966 film. Although there are scenes that are high in grain and some visible white speckles that show up from time-to-time, the picture quality for this 45-year-old film is great!
According to the Criterion Collection, the film is presented in its original theatrical aspect ratio and was supervised by director of photography, Marcello Gatti. The new HD transfer was created on C-Reality from a 35mm restored fine-grain master positive. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System.
AUDIO & SUBTITLES:
As for the audio, the audio is presented in LPCM 1.0 monaural. Dialogue is clear and understandable. Personally, I chose to set my receiver playing stereo on all channels for a more immersive soundscape but on monaural, dialogue is clear. According to the Criterion Collection, the soundtrack was mastered at 24-bit from a 35mm optical print track and Pro Tools HD was used to reduce clicks, pops, hiss and crackle was attenuated using AudioCube’s integrated workstation.
The film is center channel driven but I chose to have my receiver set the audio for stereo on all channels, which I found to be fantastic for those with a 5.1 or 7.2 or higher setup. Audio is presented in French and Arabic.
The film is presented with English subtitles, white on black and is easy to read.
SPECIAL FEATURES:
“The Battle of Algiers – THE CRITERION COLLECTION #249″ on Blu-ray comes with the following special features:
Disc 1:
- Gillo Pontecorvo: The Dictatorship of Truth – (37:30) A 1992 documentary presented by the late literary critic Edward Said about Gillo Pontecorvo’s life and film career, what he accomplished with “The Battle of the Algiers”. From his earlier years heading a resistance in Northern Italy to his approach on filmmaking. Also, interesting tidbits on his work on other films especially the difficulty of working with Marlon Brando for the film “Burn” and more.
- Marxist Poetry: The Making of the Battle of Algiers – (51:19) Pontecorvo biographer Irene Bignardi with the help of Pontecorvo, producer and actor Saadi Yacef, cinematographer Marcello Gatti, composer Ennio Morricone and actor Jean Martin, Editor Mario Morricone and film critic Tullio Kezich recall the development, production and release of “The Battle of Algiers”. Discussion how Pontecorvo was a perfectionist and would do 50 takes of one line and discussion of scenes that the director and crew went to make it look believable onscreen and more.
- Five Directors - (17:16) A featurette featuring directors Spike Lee, Mira Nair, Julian Schnabel, Oliver Stone and Steven Soderbergh discussing the film’s influence, style and importance. Also, the discussion if the film was a balanced perspective by Pontecorvo and if a film like “The Battle of Algiers” can be made today.
- Production Gallery- A collection of production stills of the cast and crew at work in Algiers and the Casbah. Also, included are posters and lobby cards promoting the international release of “The Battle of Algiers”.
- Theatrical Trailers - Featuring the original 1966 theatrical trailer (4:00) and the 2004 Rialto Pictures re-release trailer (2:23).
DISC 2
- Remembering History – (1:08:47) A 2004 documentary that reconstructs the Algerian experience of the battle for independence. Featuring interviews with historians and revolutionaries including military leader Saadi Yacef.
- Etats d’armes – (28:24) A 2002 documentary from part 3 of Patrick Rotman’s “L’Ennemi Intime” featuring senior French military officers recalling the use of torture and execution to combat the rebellion.
- The Battle of Algiers: A Case Study – (24:32) In this 2004 documentary features Richard A. Clarke, author and former national counter-terrorism coordinator discussing the film’s relevance with Michael A. Sheehan, former State Department coordinator for counter-terrorism, in a conversation moderated by Christopher E. Isham, chief of investigative projects for ABC News.
- Gillo Pontecorvo’s Return to Algiers – (58:05) In this 1992 episode of Italian TV program “Mixer”, the show covers Pontecorvo’s return to Algiers, three decades after its independence but also the turbulence in the country which includes the assassination of Algerian President Mohamed Boudiaf, the frustration of the Algerian people and the meeting of Pontecorvo between Boudiaf three days before his assassination.
EXTRAS:
“The Battle of Algiers – THE CRITERION COLLECTION #249″ comes with a 58-page booklet, which includes Peter Matthews essay “The Battle of Algiers: Bombs and Boomerangs”, an excerpt from Saadi Yacef’s book “Souvenirs de la bataille d’Alger”. Also, included is the following scene from the original screenplay by Gillo Pontecorvo and Franco Solinas and the close relationship with Saadi Yacef’s experience, an interview with Franco Solinas by PierNico Solinas which includes the original scenario of “The Battle of Algiers”. The booklet also includes selected biographies from participants in the French-Algerian War by Arun Kapil.
The Blu-ray release similar to the original DVD release comes with a slipcase.
Several years ago, I wrote in my original review of “The Battle of Algiers”:
Prior to buying this set, one of the reasons that I held out was because I thought it was simply a DVD set that focused on violence and really, I didn’t know if this was a film that I could get into.
And Prior to watching “The Battle of Algiers”, I had no knowledge of the French-Algerian war nor “The Battle of Algiers” but just reading from critics and cinemaphiles writing about how it’s a must-see film but for years, I skipped over it because I simply was not in the mood to engage in a film about revolutions or terrorism because I see this on the daily news everyday.
But I decided that enough was enough, no more waiting and it was time to give the “The Battle of Algiers” a try and make the purchase. It took me about a week to go through this 3-DVD box set of “The Battle of the Algiers” and I have to say that this is one of the most complete, must-buy sets for those who are fans of Criterion Collection films. I found it to be absolutely gripping and its filmmaking and the various shots and the mass crowds that Pontecorvo was able to get on film is amazing. I have never seen any film like it in my life and to think that what was featured was without a use of a green or blue screen and any CG work is incredible.
And here we are in 2011 with the Blu-ray release. I said at the time that I would not give the DVD release a perfect 5-star rating because I felt it deserved a Blu-ray release and when that time came, then the release of “The Battle of Algiers” would have achieved perfection.
Well, here we are with the Blu-ray release and now we have the definitive release of “The Battle of Algiers”. There is no doubt in my mind that this is a must-buy, must-own release for the cineaste but for anyone new to Criterion Collection, this is a specific example of where the Criterion Collection goes all out in including as many supplements as possible for a wonderful film. Fantastic!
As for “The Battle of Algiers”,Pontecorvo’s film is those type of films that makes you think… can you blame either side? No one is innocent in this film. Both sides have committed atrocities towards each other. But what is important is what The Criterion Collection has done for the viewer and that is include many supplements that are a half hour to more than an hour long and to absorb information coming from those who filmed the movie, those who were involved and incarcerated during the war, the French soldiers who were involved int he war and then to hear from other filmmakers of the importance of the film.
This is a solid release…fantastic film, lengthy special features that are wonderful and now we have one of the most anticipated Criterion Collection titles on Blu-ray!
For those who own the previous and wonderful DVD release, it is worthy of an upgrade for picture quality and to have on Blu-ray. But content is the same as the DVD release and nothing new added to this 2011 release. But personally, I have been waiting for a Blu-ray release of this title. It’s one of those films that is truly a definitive Criterion Collection release in showcasing a very well-done film, important film but also to have many important special features included.
There is nothing bad I can say about this release at all. “The Battle of Algiers” is a must-buy, must-own release for cinema fans!
Highly recommended!
