The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370 (as part of the Paul Robeson: Portraits of the Artist DVD Box Set) (a J!-ENT DVD Review)

September 11, 2010 by Dennis Amith · Leave a Comment

While the 1933 film “The Emperor Jones” is far from being magnificent, let alone a masterpiece, it is an important film. It was rare to see a smart, strong Black lead character and Paul Robeson definitely showed us charisma, strength as the main lead of this film. But what makes this DVD so spectacular is its overall presentation. From watching the film, listening to the informative commentary, then watching the Academy Award-winning documentary, followed by the accompanying special features (which were wonderful), I was very pleased and impressed with this DVD. Definitely recommended!

TITLE: The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370

YEAR OF MOVIE: 1933/1979

DURATION: 76 Minutes/29 Minutes

DVD INFORMATION: Black and White/Color Tinted, Documentary: Color, Monaural, 1:33:1 Aspect Ratio

COMPANY: Janus Film/The Criterion Collection

RELEASED: 2007

The Emperor Jones

Directed by Dudley Murphy

Play by “The Emperor Jones” written by Eugene O’Neill

Screenplay by DuBose Heyward

Produced by Gifford Cochran, John Krimsky

Music by Frank Tours

Cinematography by Ernest Haller

Edited by Grant Whytock

Art Direction by Herman Rosse

Paul Robeson: Tribute to an Artist

Written and Directed by Saul J. Turell

Associate Producer: Jessica Berman

Edited by Donald P. Finamore

Starring:

Paul Robeson as Brutus Jones

Dudley Digges as Smithers

Frank H. Wilson as Jeff

Fredi Washington as Undine

Ruby Elzy as Dolly

George Haymid Stamper as Lem

Paul Robeson: Tribute to an Artist

Narrated by Sidney Poitier

Of all Paul Robeson’s eleven starring film performances, by far his most iconic was his breakthrough in the big-screen adaptation of Eugene O’Neill’s The Emperor Jones (1933). He was already a legend for his stage incarnation of Brutus Jones, a Pullman porter who powers his way to the rule of a Caribbean island, but with this, his first sound-era film role, his regal image was married to his booming voice for eternity. With The Emperor Jones, Robeson became the first African-American leading man in mainstream movies and, he said, gained a deeper understanding of cinema’s potential to change racial misconceptions. Previously censored, The Emperor Jones is presented here in its most complete form.

Paul Robeson is a world renown bass-baritone concert singer, an All-American athlete and an actor who has graced the stage and on film. But most importantly, he is the first Black actor of the 20th Century and is known for his portrayal of Shakespeare’s “Othello” on Broadway.

But he was also a man who defied stereotypes. His father was an escaped slave born on a North Carolina plantation and later become a graduate from Lincoln University and became a church minister. As for Paul, he grew up alongside his four siblings and graduated with honors in 1915 from Somerville High School and won a full academic scholarship to Rutgers University.

At Rutgers, Robeson was one of four students selected in 1919 to Cap and Skull, Rutgers Honor Society, was the class valedictorian and when he went to try out for the football team, he endured abuse from other team members but persevered and became one of the greatest football players of his era. He entered Columbia Law School, became a professional football player for the American Professional Football Association and upon graduation, worked in a law firm (in which he faced racism as a professional).

But it was the 1920′s in which Robeson shined as an actor but also a singer. In 1924, Robeson received critical acclaim for his role in the Eugene O’Neill play “The Emperor Jones” and in the 1928 London production of the musical “Show Boat”.

But because Robeson had the opportunity to travel worldwide as an accomplished singer, he had a chance to perform in front of many people who loved to hear his voice. He also knew that he could make a difference for Black Americans by fighting for their rights and other injustices that he didn’t believe in. And because of his beliefs, which included his support of the Soviet Union, he became a target for non-American activities. Robeson supported socialism and loved the Russian people and because of that time in America, he became a target (like many other talents who were accused of non-American activities) and Robeson would become the entertainer who would become the most heavily investigated entertainer of all time in America.

Not only did the US government do all it can to tarnish his name, they would go as far as stripping him of things he had earned, including his football achievements at Rutger University.

Robeson suffered exhaustion, always fighting for what he believed in but it took its toll on the performer and in 1976, Robeson died of a stroke.

And now decades later, many people have come to realize what Robeson had accomplished in America, how instrumental he was in paving the way for Black actors in America but realizing that because he had a different belief than people, he endured many hardships. And within the last 25 years, many have come to celebrate Robeson’s achievements including fixing the wrongs set against Paul Robeson including restoring his football achievements at Rutgers and inducting him in the college football hall of fame.

The Criterion Collection has paid a tribute to the actor by releasing the DVD box set “Paul Robeson: Portraits of the Artist. A box set which includes his 1925 film “Body and Soul” (directed by legendary African American filmmaker Oscar Micheaux), his 1930 film “Borderline” from British film theorist Kenneth Macpherson, the 1933 screen adaptation of “The Emperor Jones” directed by Dudley Murphy, Saul J. Turrel’s Academy Award-winning documentary short from 1979 titled “Paul Robeson: Tribute to an Artist”, the 1935 film “Sanders of the River” directed by Zoltan Korda, the 1937 film Jericho (directed by Thornton Freeland), the 1940 film “The Proud Valley” and the 1942 film “Native Land” (directed by Leo Hurwitz and Paul Strand).

For “The Emperor Jones – THE CRITERION COLLECTION #370″, we get “The Emperor Jones”, Robeson’s most iconic role as Brutus Jones and the award winning 1979 documentary by Saul J. Turrel, “Paul Robeson: Tribute to an Artist”.

“Emperor Jones” is an adaptation by the play by Eugene O’Neill which is loosely based on the life of Henri Christophe, a former slave who was involved in the revolution against the French and the assassination of his predecessor before becoming the president of northern Haiti in 1807 (and later proclaimed as Henri I, King of Haiti). Henri ruled Northern Haiti with an iron fist via an autocratic monarchy. Although his intention was to develop the country, Christophe ended up building resentment against him and before he would lose his position via coup, Henri Christophe killed himself with gun and a silver bullet.

In the film version of “The Emperor Jones”, Paul Robeson plays the role of Brutus Jones. A man who comes from a town and its people are very involved with the Baptist church. Brutus has gotten a job to become a porter on a train and leaves his wife and his friends to work in this job as a porter. He ends up having incriminating information on the president and uses that knowledge to change his life.

Needless to say, Brutus manages to get his foot in the door in becoming a prominent man but is later sent to an area where he gets involved in a gambling game gone wrong. In an act of self defense, he ends up killing a friend of his who pulled a knife on him. Unfortunately for Brutus, he is sentence to hard labor and literally becomes a slave and having to be part of a chain gang and is mistreated by the white guards.

Brutus manages to kill the guard and escapes from the prison and eventually manages to leave the US entirely by going to a foreign country as a slave and ends up becoming the right hand man of a slave owner Smithers (played by Dudley Digges) and eventually surpassing him.

And as an intellectual Black man, he manages to think ahead and make sure he climbs the ladder quickly and becomes “The Emperor Jones”. Although a Black man who has faced hardships from White people, he tries to control the people with an iron fist and when he is met with people who go against his wishes, he gives orders to his soldier to destroy the village. Brutus Jones has become his own worst enemy and how being a Black man in power who has brought upon hardships to the people of this country with his own style of leadership and now the people who were supposed to follow him are now revolting.

For the Academy Award-winning documentary “Paul Robeson: Tribute to An Artist”, Saul J. Turell features archived interviews and performances and never-before-seen photos of Paul Robeson. We watch the film and see how Robeson did very well for himself as a scholar, a football player, an actor and a singer. The documentary gives the viewer a remarkable look at the rise of Paul Robeson and how he was so well revered around the world and the many versions of his song “Old Man River” but then also showing us the fall.

From Paul Robeson’s social activism in other countries to Robeson being investigated by the US government because of his activism and his belief in socialism but possibly the most controversial footage is seeing the many Black people who came to watch Robeson perform in Peekskill, New York and to see riots created by the anti-Communist and the anti-civil rights members of local Veterans of Foreign Wars and American Legion Chapters. But to see many White people screaming the “N” word and then beating on those who were leaving the concert and the police really doing nothing about it. In fact, the state troopers were involved in beating up people who left the concert (although not shown, among the 140 people injured was World War I veteran and the first decorated Black aviator Eugene Bullard)

And then we see how the State Department denying a passport to Robeson in order to confine him the in the US. As Robeson used his stardom to criticize the U.S. of the treatment of Blacks, the State Department believed that his criticism should not be aired in foreign countries as it was a “family affair”. Needless to say, labor unions in the U.S. and Canada organized a concert in 1953 which Robeson performed on the American side of the U.S. to the Canadians where around 20,000-40,000 people came to watch Robeson perform. Robeson would not have his passport returned to him until 1958.

Although there is more to the Paul Robeson story that is not included in the documentary, Saul J. Turrel did all he can to feature as much archived footage and photography of Robeson in the 29-minute documentary and is indeed a wonderful tribute to him.

VIDEO:

“The Emperor Jones” is presented primarily in 1:33:1 black and white and colored tinting by the end of the film. In the past, this film has been released, edited and presented in not the greatest format but in this case, The Criterion Collection has done a great job presenting this film in its entirety. Some scratches are visible but for a 1933 film, the picture quality of this film of this 77-year-old film is great.

According to the Criterion Collection, “The Emperor Jones” is a digital transfer mastered form a 35mm print made from the 2001 restoration duplicate negative created by the Library of Congress, the most complete version of the film available.

As for “Paul Robeson: The Tribute to An Artist”, the quality varies as footage is from various archived sources. According to the Criterion Collection, the following documentary comes from new HD digital transfer created froma 35mm fine grain master positive. Overall, picture quality is good considering the footage and photography is from the 1910′s through the ’70s.

AUDIO & SUBTITLES:

“The Emperor Jones” is presented in English monaural. You can hear Paul Robeson’s baritone voice with clarity and dialogue is clear and understandable. According to the Criterion Collection, audio restoration tools were used to reduce clicks, pops, hiss, and crackle.

It’s important to note that this is the uncensored, unedited version of “The Emperor Jones”. Because of the use of the “N” word throughout the film, many have felt the film to be too degrading. With that being said, supporters of the film feel the use of the language was necessary to show that Brutus has essentially become a bad person and uses the word as a way to show that even though he is a Black man himself, but because he is from another country, he seems himself even higher than them and thus uses the “N” word to degrade them.

A warning for those who are sensitive to films that use the word. Especially, since this movie uses the word a lot.

For “Paul Robeson: Tribute to An Artist”, the audio narrative from Sidney Poiter is very clear. While other footage comes from various archived sources, but for the most part is understandable. According to the Criterion Collection, the soundtrack was mastered at 24-bit from the optical track print.

Subtitles are in English SDH.

SPECIAL FEATURES:

“The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370” comes with the following special features:

Audio commentary – An informative and in-depth Audio Commentary by historian Jeffrey C. Stewart.
Paul Robeson: Tribute to an Artist – (29:26) A documentary narrated by Sydney Poiter on the life of Paul Robeson.
Our Paul: Remembering Paul Robeson – (19:05) A featurette on the life of Paul Robeson featuring interviews with filmmaker William Greaves and actors Ruby Dee and James Earl Jones.
Robeson on Robeson – (11:20) An interview with Paul Robeson Jr. about his father’s career and art and his involvement in the film “The Emperor Jones”.

EXTRAS:

“The Emperor Jones – THE CRITERION COLLECTION #370″ is housed with 3 other digipacks into one slip case. An 80-page booklet is included featuring an 80-page book featuring an excerpt from Paul Robeson’s Here I Stand, new essays by Clement Alexander Price, Hilton Als, Charles Burnett, Ian Christie, Deborah Willis, and Charles Musser, a reprinted article by Harlem Renaissance writer Geraldyn Dismond, and a note from Pete Seeger.

Many may wonder why “The Emperor Jones” was included in The Criterion Collection as it is not a masterpiece nor is it an astonishing film. But let’s take a look at what the Criterion Collection is all about:

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.

Now that we know what The Criterion Collection is all about, “The Emperor Jones” is a film that is part of the Paul Robeson: Portraits of the Artist DVD Box Set, a box set that pays tribute to an African-American who help pave the way for many Black actors. “The Emperor Jones” is significant in the fact that a Black man received top billing for a major film and also a film that would establish the career of Paul Robeson, the actor, the singer and the social activist.

The film is an important classic and at the same time, I praise the Criterion Collection for dedicating a set to an African American talent who has given so much to American pop culture but also introducing to a new generation of Americans, a man who was dedicated for the rights of Blacks but also championed for the rights of other things that he had believed in.

As for the film, having not seen the original play, I’m not quite sure how much things have been changed from the original play to the film adaptation but it is known that Robeson felt Dubose Heyward did some significant changes to the screenplay and that the film was condemned by the United Negro Improvement Association. The content is not easy to watch and needless to say, there are those who can watch it and see it as a sign of the times while others may feel the film is too much. It’s overuse of the “N” word is degrading.

As for the film, I found “The Emperor Jones” to be interesting but also difficult to watch. The “N” word is used so much, but when it comes out of Emperor Jones’ mouth, it is not meant in kind, it is meant to be degrading. Brutus Jones has become another man, far from the life he lived with his wife Undine and far from the life of a man who was once dedicated to the Baptist Church. And I suppose, if the purpose was for the viewer to find “The Emperor Jones” as vile, I did find the character as powerful, charismatic, intelligent but also vile and ascetic.

As Paul Robeson, the actor shines onscreen as a strong man, especially when he don’s the outfit of the Emperor, Robeson is remarkable when he sings in that low baritone voice. But as an actor, I felt that certain scenes were overacting. And when he is consumed by the ghost of the people he killed (via 1933 special effects) and in one scene, has tons of rocks dropped on him (which he survives and uses the rocks to hide from the guards leading to his escape). But then again, there were many films like this from the ’20s and ’30s and it was part of classic Hollywood.

I suppose that I wonder what the writers intended this film to be. Was it created to become a breakthrough role for Paul Robeson? Obviously, the film portrayed the character of Brutus to be strong and eventually surpassing his boss in the slave trade to become an Emperor and even having the slave owner literally working underneath him.

If anything, the whole concept of “The Emperor Jones” is not well-explored and once again, I don’t know how much was changed from the screen adaptation from the original play but I will say that the film does come off as foolish at times, even over-acted at times. But the film has its shining moments and when Paul Robeson needs to deliver, he delivers.

I look at “The Emperor Jones – THE CRITERION COLLECTION #370″ as a magnificent set for the reason that not only do we get this classic film but we also get the award winning documentary “Paul Robeson: Tribute to an Artist”.

The documentary is fantastic and as mentioned earlier, although not as thorough into the details of Robeson’s troubled life which began in the ’40s and lasted through the ’60s. On screen, he showed charisma and strength and in real life, no matter what he was he was fighting for, he continued to show that strength and stood strong to the very end. The documentary does give us perspective and is well-researched by Saul J. Turrell to include so much classic, archived footage. This was well-researched and I enjoyed the documentary a lot!

As for the DVD, the special features with interviews with James Earl Jones, William Greaves and Ruby Dee were awesome and it was very good to hear from them, of their impression of “The Emperor Jones” but also to discuss the importance of Paul Robeson and the contribution he gave for Black thespians. Also, the special feature with Paul Robeson Jr. was well done. Especially the commentary by historian Jeffrey C. Stewart for “The Emperor Jones” which was great to listen to.

If anything, to have”The Emperor Jones” and “Paul Robeson: The Tribute to An Artist” along with these special features is awesome and these are the type of Criterion Collection releases that I find quite exciting, educational and informative. It is important to note that this release is found in the “Paul Robeson: Portraits of the Artist” DVD box set and not standalone.

But so far, with this being the first DVD in the set that I have watched, I’m very impressed with what was included in the first DVD alone. Although it’s too early to rate the set, for “The Emperor Jones/Paul Robeson: The Tribute to An Artist – THE CRITERION COLLECTION #370″, this title is definitely recommended!

symbiopsychotaxiplasm: Two Takes by William Greaves – THE CRITERION COLLECTION #360 (a J!-ENT DVD Review)

November 23, 2009 by Dennis Amith · Leave a Comment

I believe that the more you research this film, you’re going to get a lot of different interpretations from various viewers and their thoughts and what they got out of it. It’s improvisation in filmmaking at its best. It’s the capturing of human emotion during the late 1960′s, peace and love with guerrilla filmmaking at its core. A time capsule from 1968 and continued in 2003, two films which I believe is worth seeing. It’s not your typical film, there is no overlying plot from beginning to end but more of an experiment caught on film with interesting results. And in the end, a truly unique and solid DVD release from THE CRITERION COLLECTION that is worth giving a try!

TITLE: symbiopsychotaxiplasm: Two Takes by William Greaves – THE CRITERION COLLECTION #360

DURATION: symbiopsychotaxiplasm Take One – 75 minutes / symbiopsychotaxiplasm Take 2 1/2 – 99 Minutes

DVD INFORMATION: Take One: Color, Monoraul, 1:33:1 Aspect Ratio, Take 2 1/2: Color, Monoraul, 1:78:1 Aspect Ratio

COMPANY: The Criterion Collection/Janus Films

RELEASED: 2006

symbiopsychotaxiplasm: Take One

Written, Directed, Produced and Edited by William Greaves

Co-Producer: Manuel Melamed

Associate Producer: Manny Meland

Music by Miles Davis

Cinematography by Steven Larner, Terrence McCartney Filgate

symbiopsychotaxiplasm: Take 2 1/2

Written and Directed by William Greaves

Executive Producer: Steve Buscemi, Steven Soderbergh

Co-Producer: Louis Archambault

Line Producer: Bill Stitt

Cinematography: Henry Adebonojo, Stevan Larner, Terence McCartney Filgate, Phil Parmet, Jonathan Weaver

Edited by Christopher Osborn

Sound Department: Matt Gundy

Visual Effects: Keith Yurevitz

Starring:

symbiopsychotaxiplasm: Take One

Patricia Ree Gilbert as Alice

Don Fellows as Freddie

Susan Anspach as Alice

William Greeves

Robert L. Rosen

Miles Davis

Audrey Heningham

Jonathan Gordon

symbiopsychotaxiplasm: Take 2 1/2

Audrey Heningham as Alice

Shannon Baker as Freddie

Marcia Karp as the Psychodramatist

Ndeye Ade Sokhna as Jamilla

Jonathan Gordon

Terence McCartney Filgate

Bob Rosen

Phil Parmet

William Greaves

Steve Buscemi

In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.

William Greaves is known for his documentary work for PBS, the United Nations and the United States Information Agency and between 1968 and 1970, Greaves was the executive producer and co-host of “Black Nation” (the first African-American produced news and public affairs show on television) which the filmmaker won various awards including an Emmy. Having a distinction as one of the original African-American filmmakers.

Having studied at Actor’s Studio and having roles on Broadway, Greaves was also an actor. But within his wonderful career, a film that written, directed and produced in 1968 titled “symbiopsychotaxiplasm: Take One” is considered as an avant-garde film because it was a film experiment in which William Greaves brought together a film crew and fellow acting students to Central Park and everyone believes they are actually filming a movie (in which they are), while a documentary film crew films what’s going on behind-the-scenes.

While the film crew focuses on the talent, and the documentary crew focuses on the film crew…everyone has their opinions. Debating on Greaves approach to filmmaking and people bad mouthing the director and the whole situation while being filmed. No one truly understands what is going on but they continue, because they feel that despite Greaves being a good/bad director…it’s his perspective of how he wants to do things. If they disagree, it doesn’t matter. As long as they go along on the ride and see what happens.

The film captures 1968 life and filmmaking at that time as 16mm cameras are being used. Cameras that hold only eleven minutes of film and having to try and sync them and technology used of yesteryear. In some ways, “symbiopsychotaxiplasm” is like a time capsule of how film crews work together and how they work with the staff. But in a way, unorthodox because of Greaves approach to the filmmaking.

What we do know is that William Greaves is not just a filmmaker, he’s an actor. Who is the real William Greaves? Is what see on film an act or was it for real? Obviously the goal for Greaves as he has mentioned in Q&A sessions after the film’s screening was trying to create conflict in which people discuss that conflict. Greaves is not only the protagonist, he is the antagonist of his own film. Everyone begins to criticize but those who think they know what William is planning believes he is doing something special. But also, everything is being filmed. From the police officer requesting for a permit, the kids who want to be part of the film and the homeless man who talks about how he was evicted from his home. Everything around them was literally captured on film.

One of the highlights of “symbiopsychotaxiplasm: Take One” is that the film utilizes a score by Mile Davis which gives the film this cool jazzy score. While the music is calming, scenes of the crew are not. What could be seen as a film of film crew madness, never gets too chaotic but is more constructive debate. Most of all, Greaves, knew which parts to include in the final cut via the editing and made things entertaining for the viewer.

And one thing revealed after the film’s release and actually makes the film work is that while Greaves was editing the film, he finds out that the documentary crew was also filming the film crew during their gripe sessions and their gripes make sense but in a way the people take on their interpretation of Greaves filmmaking is almost philosophical in a way. “symbiopsychotaxiplasm: Take One” is literally a time capsule of filmmaking in 1968 and the creativity brought by the director and those involved with the film (even though they didn’t know what the final cut would be).

Originally planned, Greaves wanted to do five films as he had over 50 hours of film footage but no one wanted to take the risk of distributing the film and thus for the next 30 years, the film would be shown only to museums and at film festivals.

It wasn’t until 1992 when actor Steve Buscemi, who saw the film at a film festival was entranced by the film wanted to help produce a sequel. Director Steven Soderbergh was shown the film and became interested in producing a sequel and thus these two well-known individuals gave William Greaves the opportunity to work on the sequel “symbiopsychotaxiplasm: Take 2 1/2″.

For the 2003 sequel, the film includes more of the 1968 footage of the film crew planning of what they wanted to accomplish during the day of filming on top of a high rise in New York City as the staff discuss the film while sirens around the city play in the background. The film continues the experimentation of the characters of Alice (played by Audrey Henningham) and Freddie (Shannon Baker), the two interracial characters that were shown at the end of the first film. As the first half continues with what was filmed at the end of the day, we are then taken to a screening of the film over 30 years later in which we see a Q&A session featuring director William Greaves, one of his original crew members and also see actor Steve Buscemi.

This leads to the third part of the film which brings back the two interracial characters from 1968: Alice (played by Audrey Henningham) and Freddie (played by Shannon Baker) reuniting 30 years later and a conclusion of the story of the two characters.

Steve Buscemi takes on the job as one of the cameramen and again, we see certain film crew not knowing what the heck is going on. Those familiar with “symbiopsychotaxiplasm” want to be taken on the wild ride and see where Greave’s takes them, while those not familiar with it are similar to the 1968 film crew and question Greaves direction. Does the director William Greaves know what he is doing or is he acting?

“Symbiopsychotaxiplasm: Two Takes by William Greaves” is featured on two DVD’s, with each DVD featuring one film: the 1968 “symbiopsychotaxiplasm: Take One” film and 2003 sequel “symbiopsychotaxiplasm: Take 2 1/2″.

VIDEO & AUDIO:

“symbiopsychotaxiplasm: Take One” is featured with an aspect ratio of 1:33:1 so the black bars will appear on the left and right of the image. As for picture quality, the 1968 film shot on 16mm actually looks pretty good considering that this was filmed over 40-years-ago. According to Criterion, the new high-definition digital transfer was created on a Spirit Datacine from a 35mm print. But William Greaves wanted corrections tot he picture and sound to be kept at a minimum to retain the “authentic” look of the film.

Greaves said that one of the theories behind the making of the film was that any “mistake” that was consciously or unconsciously made during or after filming would add to the immediacy of viewers’ experience and making them more involved in the filmmaking process.

Criterion also used their MTI Digital Restoration System to remove instances of dirt, debris and scratches caused by the degradation of film sources.

As for “symbiopsychotaxiplasm: Take 2 1/2″, the aspect ratio is 1:78:1 and was created from the original 16mm and 35mm elements from Take One and modern digital video sources from various tape formats. So, the first half of “Take 2 1/2″ is similar to Take One but as we get to the screening of the film and then the newer footage, there is a difference in film quality which is natural as the film source is from 1968 and 2003.

As for audio, the soundtrack is mono and according to Criterion, the soundtrack was mastered in 24-bit from optical soundtrack prints and audio restoration tools were used to remove occasional pops, hiss and crackle. The film is center channel driven but on surround system, people can switch to two-channel playback. Or if you have a receiver that can send audio to all channels, even better.

SPECIAL FEATURES:

“symbiopsychotaxiplasm: Two Takes by William Greaves” comes with the following special features:

DISC 1:

Discovering William Greaves – (1:01:13) A documentary created by The Criterion Collection, William Greaves, filmmaker St. Clair Bourne, actress Ruby Dee, wife and producing partner Louise Archambault and film scholar Scott MacDonald discuss William Greaves career and symbiopsychotaxiplasm in depth.
Theatrical Trailer – (1:21) A trailer made in 2005 for Janus Films theatrical distribution for “symbiopsychotaxiplasm: Take One”.

DISC 2:

Steve Buscemi Interview – (12:41) A 2006 interview with actor Steve Buscemi talks about his experience of watching “symbiopsychotaxiplasm: Take One” back in 1992 and how he pledged his support for William Greaves and future sequels. And his involvement with “symbiopsychotaxiplasm: Take 2 1/2″.

Also, included is a 34-page booklet featuring an essay titled “still no answers” by Amy Taubin, production notes written by William Greaves prior to and during the filming of “symbiopsychotaxiplasm: Take One” and produced in “Screen Writings: Scripts and Texts” by Independent Filmmakers, edited by Scott McDonald. Definitely wonderful reading, especially to read what was going on in the mind of William Greaves during the making of the 1968 film.

“symbiopsychotaxiplasm: Two Takes by William Greaves” is unlike anything that one expects to see from THE CRITERION COLLECTION. In fact, I am so happy that Criterion decided to release these two films on DVD and recognize this avant-garde work of Greaves.

I looked at the film as the precursor to what people are now seeing on YouTube or network shows. Greaves called the film as an exploration into the future of cinema art. Improvisation. A rebellion against traditional cinema form. The film crew which features hippies filming a movie about suburbanites is an understatement. This is a film that filmmakers can watch and see how work is done, even though Greaves intentionally (or intentionally) makes them feel uneasy about their job and not knowing what to do.

Reading the insert booklet, Greaves said that his goal was to make a conventional theatrical short inside a major unconventional feature film. A conventional screen test inside a major unconventional feature film. Letting nature run its course and what you see are people’s emotions driving this film. Spontaneous and true reactions which is captured on film.

Personally for me, during my college project, I had my staff and talent during the long arduous process of waiting for scenes to be completed, having a camera to record their thoughts, their feelings, their frustrations and as a filmmaker, I can understand what William Greaves probably may have felt when he had to edit this film. But its that spontaneity that you want captured, is what makes it all worthwhile and that’s why I enjoyed both films a lot.

And what a solid release from The Criterion Collection. You get both films on DVD, an hour long documentary on William Greaves and also a featurette with an interview with Steve Buscemi. If anything, I looked at this release as “Take One” being the major film and “Take 2 1/2″, although a sequel, more like an extra bonus that one can enjoy differently.

“symbiopsychotaxiplasm: Two Takes by William Greaves” is a DVD release that I can easily recommend to those who are thespians or filmmakers. For the casual viewers, only if they have an interest in the filmmaking process. This is not your typical film with a plot, it’s literally a film experiment of capturing true emotions and how it starts to work itself out during the making of the film. So, I’m quite grateful for The Criterion Collection for giving this a proper and solid release but also to Steve Buscemi and Steven Soderbergh for giving Greaves the opportunity for a sequel over 30 years later.

I believe that the more you research this film (which I did prior to purchasing it), you’re going to get a lot of different interpretations from various viewers and their thoughts and what they got out of it. It’s improvisation in filmmaking at its best. It’s the capturing of human emotion during the late 1960′s, peace and love with guerrilla filmmaking at its core. A time capsule from 1968 and continued in 2003, two films which I believe is worth seeing. It’s not your typical film, there is no overlying plot from beginning to end but more of an experiment caught on film with interesting results. And in the end, a truly unique and solid DVD release from The Criterion Collection that is worth giving a try!