5th Annual Criterion Challenge - Discussion Thread
#226
Re: 5th Annual Criterion Challenge - Discussion Thread
Overnight Amazon price drops on the following Criterion BD titles (so far): The Qatsi Trilogy, The Thin Red Line, On the Waterfront, The Badlands, Richard III, The Darjeeling Limited, The Blob. All more than 50% off. I'll update if there are more.
Also, thanks for the feedback about Kind Hearts and Coronets, I'll respond when I get a few more minutes this evening.
Also, thanks for the feedback about Kind Hearts and Coronets, I'll respond when I get a few more minutes this evening.
#227
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Re: 5th Annual Criterion Challenge - Discussion Thread
Thanks for the feedback on The Killer. I was going go go with Hard Boiled next but FYE is running a buy 2 get 1 free on used and my local manager is a huge Criterion guy and he gets a lot of them in used so I picked up Rules of the Game, The Royal Tenenbaums, and Blow Out today. I'm watching Blow Out next since some of you gave it rave reviews.
#228
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Re: 5th Annual Criterion Challenge - Discussion Thread
After watching The Hidden Fortress I decided I wanted to watch another one before bed tonight. I did want to watch something a little easier on the brain, so after going through what I had that qualified, I ended up with The Rock. I know I'm not supposed to like it-Michael Bay, Nicholas Cage...but it's impossible not to.
I love Sean Connery, he's perfect in this. There's Michael Biehn as well as Ed Harris. How can you not like this movie? It's fast paced, lots of explosions, shooting, explosions, life or death situations, and hey, did I mention explosions? It's funny and witty-to paraphrase Roger Ebert who wrote the essay on the movie.
I also haven't watched it in awhile, and was pleasantly surprised that it still holds up well. So, if you're looking for a break in the more serious films, tired of reading subtitles--watch this one. It's a great popcorn, edge of your seat movie.
I love Sean Connery, he's perfect in this. There's Michael Biehn as well as Ed Harris. How can you not like this movie? It's fast paced, lots of explosions, shooting, explosions, life or death situations, and hey, did I mention explosions? It's funny and witty-to paraphrase Roger Ebert who wrote the essay on the movie.
I also haven't watched it in awhile, and was pleasantly surprised that it still holds up well. So, if you're looking for a break in the more serious films, tired of reading subtitles--watch this one. It's a great popcorn, edge of your seat movie.
http://www.amazon.com/gp/feature.html/?docId=1001223891
#229
Moderator
Re: 5th Annual Criterion Challenge - Discussion Thread
when and if I ever get a chance to actually watch something - have family intown til the 14th... I just realized I can watch the new bluray edition of 'Time Bandits' - sweet!!
#230
DVD Talk Special Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
Yesterday, I watched Fellini’s Variety Lights (1950) which is a fun film. It follows a young dancer who hooks up with a traveling show (made me want to rewatch Carnivale), and the pompous performer who becomes infatuated with her. The essay on Criterion's sight compares it to All About Eve, which is an apt comparison. My reaction mirrored my reaction to The Hidden Fortress. Both films are straightforward films from directors I usually associate with more layered or nuanced narratives. This makes it sound like I am disparaging these films, but I’m not; they are expertly made. I suppose there just isn’t much I have to say expect: watch them and smile!
Then I watched something completely different: Luis Buñuel’s The Milky Way (1969). I was introduced to Buñuel through a screening of The Discreet Charm of the Bourgeoisie. I instantly feel in love – even though the film confused the hell out of me. I quickly watched more of his films but had never got around to this one. Its DVD release highlights why I really like the Criterion Collection. While watching the film, I was again confused (not the sharpest) and did not find it as interesting or fulfilling as the director’s other films. I was expecting a withering satire, and while there are definitely satirical parts and an absurdist tone throughout, the film really just explores how religious fanaticism operates by putting the world on a slant.
So after watching, I felt dissatisfied and worked my way through the provided interviews, documentary and essays. Through these, I was able to develop a clear idea about the film’s objectives and the context in which it was made. I think my initial (and continued on some points) confusion is due to my ignorance of Catholicism. The parts I found funny were connected with issues that were also applicable to Protestantism. I grew up United Pentecostal – which was an odd experience – so I was able to grasp some of the points about fanatics and quibbling over semantics and minor points. In the interview with Jean-Claude Carrière, he mentions that Milos Forman that the film was very political, because it’s critique of fanaticism could also be applied to political and philosophical movements of the time – something I would never have though of even though it makes perfect sense.
Then I watched something completely different: Luis Buñuel’s The Milky Way (1969). I was introduced to Buñuel through a screening of The Discreet Charm of the Bourgeoisie. I instantly feel in love – even though the film confused the hell out of me. I quickly watched more of his films but had never got around to this one. Its DVD release highlights why I really like the Criterion Collection. While watching the film, I was again confused (not the sharpest) and did not find it as interesting or fulfilling as the director’s other films. I was expecting a withering satire, and while there are definitely satirical parts and an absurdist tone throughout, the film really just explores how religious fanaticism operates by putting the world on a slant.
So after watching, I felt dissatisfied and worked my way through the provided interviews, documentary and essays. Through these, I was able to develop a clear idea about the film’s objectives and the context in which it was made. I think my initial (and continued on some points) confusion is due to my ignorance of Catholicism. The parts I found funny were connected with issues that were also applicable to Protestantism. I grew up United Pentecostal – which was an odd experience – so I was able to grasp some of the points about fanatics and quibbling over semantics and minor points. In the interview with Jean-Claude Carrière, he mentions that Milos Forman that the film was very political, because it’s critique of fanaticism could also be applied to political and philosophical movements of the time – something I would never have though of even though it makes perfect sense.
#231
DVD Talk Special Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
I need to revisit that film. I was too young and didn't understand film nearly as well when I first watched it. My younger, stupider self wrote it off as weird, and I never revisited it.
#232
DVD Talk Hall of Fame
Re: 5th Annual Criterion Challenge - Discussion Thread
After three consecutive crime dramas, late last night I selected something entirely different: 2010's Copie conforme [Certified Copy]. We've talked about watching films with others versus alone, and this is a prime example of a film I don't think could have affected me nearly the way it did had I not watched it alone in the middle of the night. I had a lot to say about this one. From my Letterboxd diary:
***SPOILER ALERT FOR ANYONE READING EMAIL***
Copie conforme [Certified Copy]
-X- 2000/2010 (2010)
-X- 601-650 (#612)
-X- Language: English, French, Italian
-X- People: -X- Jean-Claude Carrière
-X- Essay: Certified Copy: At Home and Abroad by Godfrey Cheshire
***SPOILER ALERT FOR ANYONE READING EMAIL***
Spoiler:
Copie conforme [Certified Copy]
-X- 2000/2010 (2010)
-X- 601-650 (#612)
-X- Language: English, French, Italian
-X- People: -X- Jean-Claude Carrière
-X- Essay: Certified Copy: At Home and Abroad by Godfrey Cheshire
#233
DVD Talk Ultimate Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
For those with Amazon Prime, I offer this list of films I've just created for myself of applicable titles:
Blood for Dracula
Flesh for Frankenstein
The Killing
Quadrophenia
Pulp Fiction
My Man Godfrey
Dr. Strangelove
Certified Copy
Citizen Kane
Spinal Tap
Things to Come
A Canterbury Tale [Powell/Pressburger]
Une Femme est Une Femme
Decameron
Canterbury Tales [Pasolini]
Tiny Furniture
Emperor Jones
Casablanca
Cul-de-Sac
Che 1
Che 2
Night Train to Munich
Crumb
Days of Heaven
Blood for Dracula
Flesh for Frankenstein
The Killing
Quadrophenia
Pulp Fiction
My Man Godfrey
Dr. Strangelove
Certified Copy
Citizen Kane
Spinal Tap
Things to Come
A Canterbury Tale [Powell/Pressburger]
Une Femme est Une Femme
Decameron
Canterbury Tales [Pasolini]
Tiny Furniture
Emperor Jones
Casablanca
Cul-de-Sac
Che 1
Che 2
Night Train to Munich
Crumb
Days of Heaven
Gomorrah
Richard III
The Following
The Last Emperor
Time Bandits
Atomic Cafe
Corridors of Blood
Carrie
Midnight Cowboy
King Kong
In addition, the two I Love Lucy episodes released on the short-lived TV laserdiscs - "Lucy Does a TV Commercial" and "Job Switching" - are episodes #12 and #17 on The Best Of I Love Lucy Volume 1.
(N.B. The Adventures of Baron Munchausen, To Be or Not To Be, Ran, Bridge on the River Kwai, Dr. No, From Russia With Love, Goldfinger and Breaker Morant have also all been free at one point or another during the past few months,and could conceivably go again.)
Last edited by ntnon; 09-05-13 at 03:17 AM.
#234
DVD Talk Hall of Fame
Re: 5th Annual Criterion Challenge - Discussion Thread
Found my first clunker of the challenge: My Man Godfrey. From my Letterboxd diary:
My Man Godfrey
-X- 1920/1930 (1936)
-X- 101-150 (#114)
-X- Language: English
-X- Theme: Classic Hollywood
-X- Theme: Comedies
-X- Theme: Compare and Contrast*
-X- Theme: Cut!*
-X- Theme: New York Stories
-X- Essay: My Man Godfrey by Diane Jacobs
1/10 List: Whit Stillman's Top 10
*Compare and Contrast and Cut! are Themes where just watching the feature itself doesn't count.
Spoiler:
My Man Godfrey
-X- 1920/1930 (1936)
-X- 101-150 (#114)
-X- Language: English
-X- Theme: Classic Hollywood
-X- Theme: Comedies
-X- Theme: Compare and Contrast*
-X- Theme: Cut!*
-X- Theme: New York Stories
-X- Essay: My Man Godfrey by Diane Jacobs
1/10 List: Whit Stillman's Top 10
*Compare and Contrast and Cut! are Themes where just watching the feature itself doesn't count.
Last edited by Travis McClain; 09-06-13 at 12:40 AM. Reason: added Whit Stillman's Top 10
#235
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Re: 5th Annual Criterion Challenge - Discussion Thread
I love My Man Godfrey.
I don't know if it will sway you, but Roger Ebert's Great Films essay was what initially made me aware of it.
http://www.rogerebert.com/reviews/gr...n-godfrey-1936
"What you have to observe and admire is how gently the film offers its moments of genius."
I don't know if it will sway you, but Roger Ebert's Great Films essay was what initially made me aware of it.
http://www.rogerebert.com/reviews/gr...n-godfrey-1936
"What you have to observe and admire is how gently the film offers its moments of genius."
#236
DVD Talk Hall of Fame
Re: 5th Annual Criterion Challenge - Discussion Thread
I love My Man Godfrey.
I don't know if it will sway you, but Roger Ebert's Great Films essay was what initially made me aware of it.
http://www.rogerebert.com/reviews/gr...n-godfrey-1936
"What you have to observe and admire is how gently the film offers its moments of genius."
I don't know if it will sway you, but Roger Ebert's Great Films essay was what initially made me aware of it.
http://www.rogerebert.com/reviews/gr...n-godfrey-1936
"What you have to observe and admire is how gently the film offers its moments of genius."
God, but this film is beautiful. The cinematography by Ted Tetzlaff is a shimmering argument for everything I've ever tried to say in praise of black and white. Look me in the eye and tell me you would prefer to see it in color.
A couple of reviewers on the Web complain that the plot is implausible.
Both Diane Jacobs and Mr. Ebert name-checked Preston Sturges's Sullivan's Travels in their respective essays. There is at least one fundamental difference between these two films, though: Sturges didn't view the downtrodden as "temporarily embarrassed millionaires" (to borrow from Steinbeck). This film does, mocking and insulting the forgotten men of the Depression or contemporary viewers who know all too well what "underemployed" means and find the idea of upward mobility a fantasy.
In its way, My Man Godfrey is very much like the family: Egocentric and vapid, oblivious to and inconvenienced by the real suffering that Sturges confronted directly, without flinching. The film opens with the promise indict the upper class, but if anyone learns a lesson it's only something we're meant to project.
#237
Re: 5th Annual Criterion Challenge - Discussion Thread
Wish me luck, fellas. I'm about to dive into a Merchant Ivory flick (Howard's End)
#238
Re: 5th Annual Criterion Challenge - Discussion Thread
On that, I'll agree with Mr. Ebert.
To this critique, he offers the remainder of his essay, but only addresses the implausibility of Godfrey's financial wizardry. I guess after years of watching Alfred Pennyworth come to the aid of Bruce Wayne, that kind of thing doesn't even faze me. Nothing is said, though, of how grating the family is - an issue that frustrated me far more than the contrivance of Godfrey solving things.
Both Diane Jacobs and Mr. Ebert name-checked Preston Sturges's Sullivan's Travels in their respective essays. There is at least one fundamental difference between these two films, though: Sturges didn't view the downtrodden as "temporarily embarrassed millionaires" (to borrow from Steinbeck). This film does, mocking and insulting the forgotten men of the Depression or contemporary viewers who know all too well what "underemployed" means and find the idea of upward mobility a fantasy.
In its way, My Man Godfrey is very much like the family: Egocentric and vapid, oblivious to and inconvenienced by the real suffering that Sturges confronted directly, without flinching. The film opens with the promise indict the upper class, but if anyone learns a lesson it's only something we're meant to project.
To this critique, he offers the remainder of his essay, but only addresses the implausibility of Godfrey's financial wizardry. I guess after years of watching Alfred Pennyworth come to the aid of Bruce Wayne, that kind of thing doesn't even faze me. Nothing is said, though, of how grating the family is - an issue that frustrated me far more than the contrivance of Godfrey solving things.
Both Diane Jacobs and Mr. Ebert name-checked Preston Sturges's Sullivan's Travels in their respective essays. There is at least one fundamental difference between these two films, though: Sturges didn't view the downtrodden as "temporarily embarrassed millionaires" (to borrow from Steinbeck). This film does, mocking and insulting the forgotten men of the Depression or contemporary viewers who know all too well what "underemployed" means and find the idea of upward mobility a fantasy.
In its way, My Man Godfrey is very much like the family: Egocentric and vapid, oblivious to and inconvenienced by the real suffering that Sturges confronted directly, without flinching. The film opens with the promise indict the upper class, but if anyone learns a lesson it's only something we're meant to project.
In any event, for those reasons, I tend to prefer THREE-CORNERED MOON to MY MAN GODFREY. (Although Carole Lombard at her most lunatic is always something marvelous to behold.)
#239
DVD Talk Special Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
There were some excellent films about poverty in the 1930s (DEAD END, HEROES FOR SALE, WILD BOYS OF THE ROAD), but I want to single out another film from that era that dealt with a rich family confronted with poverty, THREE-CORNERED MOON (1933), starring Claudette Colbert. In it, a once-rich family falls upon hard times. It's treated lightly for most of it, but gets pretty serious at the end, when Colbert's fiancé, an aspiring novelist, turns down an office job he's been offered so he can keep working on the novel he's been working on for years. Meanwhile, everyone else is on the verge of starving and they were counting on his salary. It leads to a pretty harrowing scene between the fiancé, who's been living with them, and Colbert and her family. When I saw the film, I was married and having serious financial problems and I saw something of myself in the fiancé and it scared the hell out of me. (The marriage ended and so, eventually, did my financial problems. But that's another story.)
In any event, for those reasons, I tend to prefer THREE-CORNERED MOON to MY MAN GODFREY. (Although Carole Lombard at her most lunatic is always something marvelous to behold.)
In any event, for those reasons, I tend to prefer THREE-CORNERED MOON to MY MAN GODFREY. (Although Carole Lombard at her most lunatic is always something marvelous to behold.)
This may not be a very conventional "poverty" film, but I would add Gold Diggers of 1933 to the list. While a wealthy "angel" is eventually found, the main characters have their show close due to a lack of funds. Also, there's a great number about the "forgotten man" that was added to the end. Great film!
#240
DVD Talk Special Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
#241
Re: 5th Annual Criterion Challenge - Discussion Thread
I watched my first Bresson for this challenge: A MAN ESCAPED (1956), about a prisoner of the Nazis in France in 1943 and his elaborate preparations for an escape, focusing on each of the details of it. Kind of the antithesis of SHAWSHANK REDEMPTION. Two things bothered me and presented me with questions that hampered my enjoyment of the film. Can anyone who's seen it read my questions and comment?
I have two other Bressons lined up: AU HASARD BALTHAZAR and PICKPOCKET. We'll see how those go.
Spoiler:
I have two other Bressons lined up: AU HASARD BALTHAZAR and PICKPOCKET. We'll see how those go.
#242
Senior Member
Re: 5th Annual Criterion Challenge - Discussion Thread
Spoiler:
#243
Re: 5th Annual Criterion Challenge - Discussion Thread
I also think it's a pretty brilliant and savage (if not particularly subtle) satire of British aristocracy. As for sympathizing with any of the characters - I don't think you're supposed to connect much with the people he kills, since they're mostly made out to be pretty decadent and degenerate - completely undeserving of their place in society. On the other hand, I do kind of sympathize with Dennis Price's "protagonist" - he is the victim of injustice after all. Of course, he also turns out to be completely evil - and he also becomes a target of the film's satire and ridicule - but you can understand why he would be angry.
Out of curiosity, have you seen any of the other Ealing comedies? Even if you didn't like this one, I'd recommend giving The Lavender Hill Mob and The Ladykillers (neither is in the collection, unfortunately) a try at some point in the future. They've all got a similarly dark sense of humor, but they're different enough that you still might enjoy them even if you disliked Kind Hearts.
Agreed. It's very much a populist film, but it's also very much a specifically British populist film. I think it requires more than a passing familiarity with that embittered perspective to truly appreciate. The family comes off as self-indulgent twits, which of course they are, but they're the truest definition of the "e" word that has become the most scathing epithet in society ("entitled").
I'm a big fan of the film, but can see why it wouldn't be universally liked. It is a comical indictment of British aristocracy as well as the conniving upwardly-mobiles. It's also so incredibly British that I could not resist it. (I'm something of an Anglo-phile.) I will confess that it has been a number of years since I last watched the film so I cannot really get into the particulars of why I liked it. I do remember liking that the film never pulls its punches and also provides some fun commentary on the hobbies and foibles of the upper class.
Excellent remarks! I need to revisit the film. If you like Alec Guinness, you should watch Last Holiday (1950) if you haven't already. It was part of one of those Essential Art House sets. Definitely worth checking out. Guinness gives a wonderful performance.
Excellent remarks! I need to revisit the film. If you like Alec Guinness, you should watch Last Holiday (1950) if you haven't already. It was part of one of those Essential Art House sets. Definitely worth checking out. Guinness gives a wonderful performance.
Thanks for the feedback, everyone.
#244
Re: 5th Annual Criterion Challenge - Discussion Thread
It's a Deal of the Day. Do we have an Amazon mole on the forum?
http://www.amazon.com/gp/feature.html/?docId=1001223891
http://www.amazon.com/gp/feature.html/?docId=1001223891
I didn't pick-up any titles as I either owned or was not interested in what was available.
#245
Re: 5th Annual Criterion Challenge - Discussion Thread
After three consecutive crime dramas, late last night I selected something entirely different: 2010's Copie conforme [Certified Copy]. We've talked about watching films with others versus alone, and this is a prime example of a film I don't think could have affected me nearly the way it did had I not watched it alone in the middle of the night. I had a lot to say about this one. From my Letterboxd diary:
#246
Re: 5th Annual Criterion Challenge - Discussion Thread
Apologies for the basic format to this, but I started typing up a few in another program and thought it would be good to share. All of these are just going by memory/1st reaction, so I may have missed a title or two.
Upcoming Criterion on TCM Schedule:
10-Sep City Lights 1:45AM
10-Sep Safety Last! 4:15AM
10-Sep Rififi 10:00AM
10-Sep Nanook of the North 8:00PM
10-Sep Thief of Bagdad 9:30PM
11-Sep Passion of Joan of Arc 12:15AM
11-Sep Vampyr 7:30AM
12-Sep The Bicycle Thief 12:15AM
12-Sep Winter Light 4:00AM
13-Sep Brute Force 4:15PM
15-Sep The Man Who Knew Too Much 3:30PM
16-Sep Summer With Monika 2:15AM
16-Sep The Private Life of Henry VIII 6:00AM
20-Sep La Jette 8:00PM
22-Sep The Lady Vanishes 1:15PM
22-Sep The 39 Steps 8:00PM
24-Sep L'Atlante 9:00PM
24-Sep Grand Illusion 10:45PM
25-Sep Rules of the Game 12:45AM
25-Sep Port of Shadows 4:00AM
29-Sep Rebecca 8:00PM
29-Sep Notorious 10:15PM
30-Sep Le Notti Bianche 2:15AM
30-Sep Brief Encounter 4:15AM
30-Sep Stagecoach 8:00PM
30-Sep Citizen Kane 11:15PM
1-Oct Rome, Open City 4:30AM
Upcoming Criterion on TCM Schedule:
10-Sep City Lights 1:45AM
10-Sep Safety Last! 4:15AM
10-Sep Rififi 10:00AM
10-Sep Nanook of the North 8:00PM
10-Sep Thief of Bagdad 9:30PM
11-Sep Passion of Joan of Arc 12:15AM
11-Sep Vampyr 7:30AM
12-Sep The Bicycle Thief 12:15AM
12-Sep Winter Light 4:00AM
13-Sep Brute Force 4:15PM
15-Sep The Man Who Knew Too Much 3:30PM
16-Sep Summer With Monika 2:15AM
16-Sep The Private Life of Henry VIII 6:00AM
20-Sep La Jette 8:00PM
22-Sep The Lady Vanishes 1:15PM
22-Sep The 39 Steps 8:00PM
24-Sep L'Atlante 9:00PM
24-Sep Grand Illusion 10:45PM
25-Sep Rules of the Game 12:45AM
25-Sep Port of Shadows 4:00AM
29-Sep Rebecca 8:00PM
29-Sep Notorious 10:15PM
30-Sep Le Notti Bianche 2:15AM
30-Sep Brief Encounter 4:15AM
30-Sep Stagecoach 8:00PM
30-Sep Citizen Kane 11:15PM
1-Oct Rome, Open City 4:30AM
#247
DVD Talk Gold Edition
Re: 5th Annual Criterion Challenge - Discussion Thread
I had a bit of disappointment. I am away from home tonight but planned ahead. Grabbed a couple movies and the portable DVD player. Thought I was all set--and the player doesn't work. It's not a huge setback but I was looking forward to crossing Godzilla off my list of shame. Tomorrow, I guess! I also picked up Seven Samurai and while I wasn't planning on watching it tonight, I did read the book that came with it. It's funny how some of the essays made me not want to watch it and then immediately following those were some that did. All in how it was presented, I think!
#248
DVD Talk Hall of Fame
Re: 5th Annual Criterion Challenge - Discussion Thread
Went back to Amazon to stream The Harder They Come. From my Letterboxd diary:
***SPOILER ALERT FOR ANYONE READING EMAIL***
The Harder They Come
-X- 1970 (1973)
-X- 051-100 (#83)
-X- Language: English
-X- Theme: Great Soundtracks
-X- Essay: The Harder They Come by Michael Dare
1/10 List: Adam Yauch's Top 10
1/10 List: Joe Swanberg's Top 10
1/10 List: Susie Bright's Top 10
1/10 List: Whit Stillman's Top 10
***SPOILER ALERT FOR ANYONE READING EMAIL***
Spoiler:
The Harder They Come
-X- 1970 (1973)
-X- 051-100 (#83)
-X- Language: English
-X- Theme: Great Soundtracks
-X- Essay: The Harder They Come by Michael Dare
1/10 List: Adam Yauch's Top 10
1/10 List: Joe Swanberg's Top 10
1/10 List: Susie Bright's Top 10
1/10 List: Whit Stillman's Top 10
#249
DVD Talk Hall of Fame
Re: 5th Annual Criterion Challenge - Discussion Thread
While auditing the Top 10 lists that include The Harder They Come, I discovered that Whit Stillman's Top 10 also includes My Man Godfrey. I've gone back to my previous post and added that to the list of potential check marks. I love that Criterion includes those Explore links, but I wish they didn't limit them to just five per film page!
#250
Re: 5th Annual Criterion Challenge - Discussion Thread
Got done with it earlier. This may have had a better storyline that Room/View, but I'm with you in the rankings. Room/View was just more visually alive than this.