Now how can we take you serious, Justin? You’ve made it abundantly clear in other threads that transfer quality is not an issue for you. I’m sure NYV’s demise must be devastating to you and your massive VHS collection.
I’m sorry if I’m coming off as snide, that really isn’t my intention, Justin.
Cinema is a visual art. What you call “conspicuous consumption,” is actually an earnest effort to preserve film in its truest form; the form intended by the artists who created it. It’s called “respect,” mate. People like you are sending a message to studios that it’s OK to have their way with the art as long as we get the sloppy seconds.
Oh, I have no doubt that you cherish cinema. Kind of like Chris Brown cherishes Rihanna.
(And don’t get your knickers in such a bunch, mate, I’m just having a laugh. Mostly.)
I’m sorry, Justin. I honestly did not mean to go after you, but in reviewing our recent “conversation,” I’m definitely coming off as a bit “bitchy.” I warned you at the outset that blu-ray had turned me into a miserable snob.
My apologies, brother. Especially for my petty jests implying that you dishonour the cinema. Indeed, I have enjoyed many of your comments and insights here at The Auteurs, and know that you are as pure a cineaste as one is likely to find in these forums.
And poor Eggman just wants to know whether or not to pick up the damn film. It seems that our disagreement may, in fact, provide him with the answer.
If you want a masterful transfer, hold off.
If you want a masterful film, what the hell are you waiting for?
Those “all-that-for-nothing” endings, in which characters survive horrific ordeals throughout the film, only to succumb before the credits roll, are just brutal.
Grave of the Fireflies, El Norte and Das Boot spring to mind.
It is my understanding that the actual numbers of the chapters of Burgess’ novel hold significance, 21 being recognized as the age of maturity. The oft ignored (and even omitted in many American editions) 21st chapter is supposed to illustrate the period of a man’s life when childish things are put away. This unique literary organization always seemed essential to the novel, IMHO, and Kubrick’s film (while undeniably powerful, in it’s own right) does suffer structurally for excluding it.
While I agree that certain literary elements are impossible to translate to the screen, I think chapter breaks in films are not that uncommon, and were even used in Japan, at around the same time, as a structural device in films like Lady Snowblood. However, Kubrick was famous for adapting unadaptable texts with his own inimatable style, even at the author’s chagrin. With every other film he adapted, I understood the justifications for his deviations. However, Clockwork’s denouement always felt frustratingly incomplete to me; as if the film, itself, were deliberately rebelling against the original text. Perhaps I missed more than I thought…
@Ben
Great way to put it. And that really is one of the most rewarding aspects of the novel: the book has to be “earned.”
The price point must also be taken into consideration, here. By going to one disc, be it through small sacrifices (i.e., Last Emperor’s extended television version) or creative (read: frugal) packaging, Criterion can actually offer the HD transfer at a lower price than the standard counterpart.
The decisions that Criterion are making in regards to the HD market are defining, like never before, their genuine concern for the consumer. These guys are really going out of their way to find feasible ways to survive in this burgeoning format. This is a risky move for a small company and I, for one, applaud Criterion for their efforts to provide us with the best value for our dollar.
And as far as value goes, can anyone name a more beautiful and complete single-disc edition than Criterion’s blu-ray of THE THIRD MAN?
Second that one, Crap Monster. Criterion could really bail out poor Nina and her beautiful little film.
I’d also kill for a definitive Adams/Rosen bundle with Watership Down and Plague Dogs. But we’re not even scratching the surface of the wealth of criminally under-seen animated films (Flaklypa Grand Prix, Mind Game, When the Wind Blows). It really is a bit of a black eye that Criterion have so blatantly ignored the genre.
If you really don’t believe you’re missing anything when you view an analog-sourced, dark, cropped, cut, debris-ridden, color-drained transfer (rife with ghosting and combing) and audio that sounds like it was recorded from the bottom of a well, then mister, you’re a better man than I.
And incidentally, I’m sure director’s have no problem with how their films are presented, either, as long as they’re presented.
That’s a pretty harsh judgment to pass on someone for appreciating the extra care and cost that some distributor’s put into their transfers. Where’s all this antagonism coming from?
Do you want a list of botched releases from New Yorker, Justin?
Is that where you want to go with this?
And who do think you are anyway, splashing around in your bathtub? Michael Bloody Phelps?
a) didn’t believe that the best place to truly experience a film was in the theatre
b) actually preferred PAL, and
c) had the faintest idea what the hell you were talking about?
Is there another Samuryan in here?
(And, just to clear, I’m being demonized because I laud this “trend” of quality transfers? Is that right? Because I was under the impression that this was a good thing. Man, Truffaut must be spinning in his grave about Criterion’s upcoming blu-ray of 400 Blows! Philistines! Blasphemers! They have no understanding of art! Eh, Justin?)
I’d love to say something like 8 1/2 or Tokyo Story, but I’d only be lying to myself. If I ever end up stranded on a desert island, I hope The Empire Strikes Back is there with me (… and well, something to watch it on… obviously).
I’m gonna have to agree with my current idol, Adam (a gentlemen and a scholar):
I love you guys (and girls) and feel like my day isn’t complete until I check in and see what’s happening in here. Each of you have such unique personalities, sometimes I feel like I’m tuning into a sitcom (“Oh, that is just like Belmondo to say something like that!”).
I’ve assigned so many imaginary faces to you guys, I’m actually surprised sometimes when I check out your profiles and see what you really look like (for some weird reason, I always pictured Crap Monster as the spitting image of Seth Rogen). Maybe I’ll start a thread where I blindly cast the actors I think would portray you all in a movie.
And I’m gonna warn you guys right now that one of these days I’m totally stealing your personalities for my Great American Screenplay.
A Jodorowsky release would be largely redundant, as the recent Anchor Bay set collects most of his popular works (restored beautifully, as well).
Region 1 has yet to do Satyajit Ray’s films justice. An Eclipse release of The Apu Trilogy would certainly be a promising step on the road to atonement.
Lynch has actually said he’ll never shoot on film again, as the digital process is much more conducive to creating something spontaneous and thus more faithful to his original vision. His full commentary regarding digital technology can be found in the extras on INLAND EMPIRE.
Speaking of Deathproof, I’ll never understand all the hating on that one. I loved the dialogue (and have yet to meet a woman who thought it rang untrue), enjoyed the jarring genre-splicing, thought the structure was pretty damn unique, the music was inarguably brilliant, the car chase was unrivaled, and the finale, immensely satisfying. Why should we feel guilty for liking it? It’s a great fucking picture!
I can see both sides, but I’m with Belmondo and Jake on this one. We can romanticize it all we want, but from a pure marketing standpoint the cover design is pretty vapid. They’re not going to hook any new fish with bait like this.
Is this edition worth buying? about 4 years ago
@Justin (and anyone else who still prefers traveling by carriage over Concord):
Bloody studios, always trying to increase the quality of our viewing experience! Fight the power, brother!
Blu-ray has transformed me into a miserable snob. I literally can’t even watch a film anymore unless the bitrate is over 15 Mbps.
Stay inside the Matrix. Ignorance really is bliss!
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New Yorker Films shuts down about 4 years ago
Now how can we take you serious, Justin? You’ve made it abundantly clear in other threads that transfer quality is not an issue for you. I’m sure NYV’s demise must be devastating to you and your massive VHS collection.
Go to Comment
Is this edition worth buying? about 4 years ago
For the love of the children, Justin, please stop embarrassing yourself.
Go to Comment
Is this edition worth buying? about 4 years ago
I’m sorry if I’m coming off as snide, that really isn’t my intention, Justin.
Cinema is a visual art. What you call “conspicuous consumption,” is actually an earnest effort to preserve film in its truest form; the form intended by the artists who created it. It’s called “respect,” mate. People like you are sending a message to studios that it’s OK to have their way with the art as long as we get the sloppy seconds.
Oh, I have no doubt that you cherish cinema. Kind of like Chris Brown cherishes Rihanna.
(And don’t get your knickers in such a bunch, mate, I’m just having a laugh. Mostly.)
Go to Comment
Is this edition worth buying? about 4 years ago
I’m sorry, Justin. I honestly did not mean to go after you, but in reviewing our recent “conversation,” I’m definitely coming off as a bit “bitchy.” I warned you at the outset that blu-ray had turned me into a miserable snob.
My apologies, brother. Especially for my petty jests implying that you dishonour the cinema. Indeed, I have enjoyed many of your comments and insights here at The Auteurs, and know that you are as pure a cineaste as one is likely to find in these forums.
And poor Eggman just wants to know whether or not to pick up the damn film. It seems that our disagreement may, in fact, provide him with the answer.
If you want a masterful transfer, hold off.
If you want a masterful film, what the hell are you waiting for?
Go to Comment
FAVOURITE DOWNBEAT ENDING about 4 years ago
Those “all-that-for-nothing” endings, in which characters survive horrific ordeals throughout the film, only to succumb before the credits roll, are just brutal.
Grave of the Fireflies, El Norte and Das Boot spring to mind.
Go to Comment
Did "A Clock Work Orange" have a deeper meaning about 4 years ago
It is my understanding that the actual numbers of the chapters of Burgess’ novel hold significance, 21 being recognized as the age of maturity. The oft ignored (and even omitted in many American editions) 21st chapter is supposed to illustrate the period of a man’s life when childish things are put away. This unique literary organization always seemed essential to the novel, IMHO, and Kubrick’s film (while undeniably powerful, in it’s own right) does suffer structurally for excluding it.
Go to Comment
Did "A Clock Work Orange" have a deeper meaning about 4 years ago
@ Justin
While I agree that certain literary elements are impossible to translate to the screen, I think chapter breaks in films are not that uncommon, and were even used in Japan, at around the same time, as a structural device in films like Lady Snowblood. However, Kubrick was famous for adapting unadaptable texts with his own inimatable style, even at the author’s chagrin. With every other film he adapted, I understood the justifications for his deviations. However, Clockwork’s denouement always felt frustratingly incomplete to me; as if the film, itself, were deliberately rebelling against the original text. Perhaps I missed more than I thought…
@Ben
Great way to put it. And that really is one of the most rewarding aspects of the novel: the book has to be “earned.”
Go to Comment
Blu-Ran! about 4 years ago
The price point must also be taken into consideration, here. By going to one disc, be it through small sacrifices (i.e., Last Emperor’s extended television version) or creative (read: frugal) packaging, Criterion can actually offer the HD transfer at a lower price than the standard counterpart.
The decisions that Criterion are making in regards to the HD market are defining, like never before, their genuine concern for the consumer. These guys are really going out of their way to find feasible ways to survive in this burgeoning format. This is a risky move for a small company and I, for one, applaud Criterion for their efforts to provide us with the best value for our dollar.
And as far as value goes, can anyone name a more beautiful and complete single-disc edition than Criterion’s blu-ray of THE THIRD MAN?
On any format?
Ever?
Go to Comment
Animated Films on Criterion about 4 years ago
Second that one, Crap Monster. Criterion could really bail out poor Nina and her beautiful little film.
I’d also kill for a definitive Adams/Rosen bundle with Watership Down and Plague Dogs. But we’re not even scratching the surface of the wealth of criminally under-seen animated films (Flaklypa Grand Prix, Mind Game, When the Wind Blows). It really is a bit of a black eye that Criterion have so blatantly ignored the genre.
Go to Comment
HOW DO YOU FILE YOUR COLLECTION? about 4 years ago
Ditto, Steve.
One of these days I’ll get around to some kind of quirky system like Rob and his albums in High Fidelity.
Go to Comment
New Yorker Films shuts down about 4 years ago
If you really don’t believe you’re missing anything when you view an analog-sourced, dark, cropped, cut, debris-ridden, color-drained transfer (rife with ghosting and combing) and audio that sounds like it was recorded from the bottom of a well, then mister, you’re a better man than I.
And incidentally, I’m sure director’s have no problem with how their films are presented, either, as long as they’re presented.
Just ask David Lynch…
Go to Comment
New Yorker Films shuts down about 4 years ago
That’s a pretty harsh judgment to pass on someone for appreciating the extra care and cost that some distributor’s put into their transfers. Where’s all this antagonism coming from?
Do you want a list of botched releases from New Yorker, Justin?
Is that where you want to go with this?
And who do think you are anyway, splashing around in your bathtub? Michael Bloody Phelps?
Go to Comment
New Yorker Films shuts down about 4 years ago
Luddites. They just can’t be reasoned with…
Go to Comment
New Yorker Films shuts down about 4 years ago
Um… good one, Ben. Real zinger.
It would’ve been even better if I:
a) didn’t believe that the best place to truly experience a film was in the theatre
b) actually preferred PAL, and
c) had the faintest idea what the hell you were talking about?
Is there another Samuryan in here?
(And, just to clear, I’m being demonized because I laud this “trend” of quality transfers? Is that right? Because I was under the impression that this was a good thing. Man, Truffaut must be spinning in his grave about Criterion’s upcoming blu-ray of 400 Blows! Philistines! Blasphemers! They have no understanding of art! Eh, Justin?)
Go to Comment
New Yorker Films shuts down about 4 years ago
Eloquently put, Kifah. My feelings exactly.
Go to Comment
If you had to pick ONE film as your favorite... about 4 years ago
I’d love to say something like 8 1/2 or Tokyo Story, but I’d only be lying to myself. If I ever end up stranded on a desert island, I hope The Empire Strikes Back is there with me (… and well, something to watch it on… obviously).
Go to Comment
The Best Canadian Films of all time? about 4 years ago
Another shout out for C.R.A.Z.Y.
This movie is so good, it actually makes me wish I was Canadian. And that’s really saying something!
(I kid ’cuz I love)
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If you had to pick ONE film as your favorite... about 4 years ago
“… NOT TO MENTION THE FACT THAT YOU’RE TALKIN” TO A DEAD GUY!!! NOW WHAT DO YOU THINK!!!??? You think I’m qualified?"
Go to Comment
Auteur Poll results, why? about 4 years ago
I’m gonna have to agree with my current idol, Adam (a gentlemen and a scholar):
I love you guys (and girls) and feel like my day isn’t complete until I check in and see what’s happening in here. Each of you have such unique personalities, sometimes I feel like I’m tuning into a sitcom (“Oh, that is just like Belmondo to say something like that!”).
I’ve assigned so many imaginary faces to you guys, I’m actually surprised sometimes when I check out your profiles and see what you really look like (for some weird reason, I always pictured Crap Monster as the spitting image of Seth Rogen). Maybe I’ll start a thread where I blindly cast the actors I think would portray you all in a movie.
And I’m gonna warn you guys right now that one of these days I’m totally stealing your personalities for my Great American Screenplay.
Can’t wait to see what happens next…
Go to Comment
What underappreciated filmmaker deserves an eclipse release? about 4 years ago
A Jodorowsky release would be largely redundant, as the recent Anchor Bay set collects most of his popular works (restored beautifully, as well).
Region 1 has yet to do Satyajit Ray’s films justice. An Eclipse release of The Apu Trilogy would certainly be a promising step on the road to atonement.
Go to Comment
How important is a perfect image quality for cinephiles? about 4 years ago
I find it best to defer to the actual filmmakers and their thoughts on quality and presentation. Here are a couple of recent remarks:
Ridley Scott:
http://domain1297528.sites.fasthosts.com/BodyOfLies/Ridley_BluRay_Window.wmv
David Lynch:
http://www.youtube.com/watch?v=BcNLEwf2pOw
It matters, people. Like it or not… it matters.
Go to Comment
How important is a perfect image quality for cinephiles? about 4 years ago
@KJ:
Lynch has actually said he’ll never shoot on film again, as the digital process is much more conducive to creating something spontaneous and thus more faithful to his original vision. His full commentary regarding digital technology can be found in the extras on INLAND EMPIRE.
Go to Comment
Gangs of New York about 4 years ago
Boy, I’d just like to know what Marty’s got against the Irish. Stop punishing us and get your ass back to Little Italy!
Go to Comment
BREAKING THE FOURTH WALL about 4 years ago
I think the fifth wall is when they actually come out of your TV, like that crazy little RINGU girl.
Go to Comment
BREAKING THE FOURTH WALL about 4 years ago
Speaking of Deathproof, I’ll never understand all the hating on that one. I loved the dialogue (and have yet to meet a woman who thought it rang untrue), enjoyed the jarring genre-splicing, thought the structure was pretty damn unique, the music was inarguably brilliant, the car chase was unrivaled, and the finale, immensely satisfying. Why should we feel guilty for liking it? It’s a great fucking picture!
Go to Comment
I need help on what to buy and am going to be selfish and make a post that is meaningless to everyone but me. about 4 years ago
@ Justin:
Let us know what you thought of Throne of Blood. It was my first Kurosawa and remains, to this day, my favorite.
Go to Comment
I need help on what to buy and am going to be selfish and make a post that is meaningless to everyone but me. about 4 years ago
@ Drew:
Add another vote to the Bergman tally.
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Criterion Coming Soon and Discussion about 4 years ago
I’m a bit disappointed that ANDRE isn’t getting the HD treatment, but I guess it’s not exactly a film that screams for it.
@ Bob:
Thanks for the heads up on the Godard/Lang conversation. I’m going to go check it out right now!
Go to Comment
Criterion Coming Soon and Discussion about 4 years ago
I can see both sides, but I’m with Belmondo and Jake on this one. We can romanticize it all we want, but from a pure marketing standpoint the cover design is pretty vapid. They’re not going to hook any new fish with bait like this.
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