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One of my faves! More Walsh, especially from WB in the 1940's, is always welcome. And with the recent releases of THE ROARING TWENTIES, THEY DRIVE BY NIGHT, GENTLEMAN JIM and now THE MAN I LOVE, plus the upcoming PURSUED from KIno, it's turning into a wave. Hooray!

Alan, this is a technical question which you may know more about than me. I also recall THE MUSIC LOVERS being in stereo, which I saw opening day at the Coronet in NYC. Though I may be mistaken, my understanding is at that time, optical soundtracks were unable to reproduce stereo, and most...

Yes, that generic description, "remastered in high definition" definitely gives me pause. Especially considering the BFI blu of WOMEN IN LOVE states "new 4k restoration from BFI national archives". Most of their releases are very specific when it comes to picture and sound, whereas this is so vague.

That link took me to Amazon.com, the US website with no mention of the BFI Blu-Ray. I tried searching for it on Amazon.uk also, but keep getting a service unavailable message. Here's a link to the BFI Shop. https://shop.bfi.org.uk/the-music-lovers-blu-ray.html

Wonderful commentary. may be one of Eddie's best, with a periodical millinery alert. In his view, Claire Trevor's hat changes from one scene to the next constitutes a secondary aesthetic movement.

The other 4 volumes are only on DVD, so that shouldn't extend your BD want list too much.

My first viewing of this film was at the Lyric on 42nd and yes, the audience was very vocal, enthusiastic and involved, maybe a little too much. My second viewing was 20+ years later, at the Anthology Film Archives. When that scene arrived, there was total, reverential silence. What a...

Yeah. I went up to Amazon.uk & almost pulled the trigger, then realized the Blu-ray might be the old, DVD-era master. If Arrow had been releasing it, the Blu-ray would be from the same master as the UHD. But with Paramount, you never know.

A magnifying glass--at our age--might also help. Of course, this is purely for aesthetic purposes, to explore that compositional mastery. Seriously, though, I always considered AMERICAN GIGOLO Schreder's version of Bresson's PICKPOCKET, and in spite of the film's emphasis on over-the top...

Got mine today, ahead of schedule. Already watched it. Didn't intend to. Was checking the disc quality, and got caught up. This film is a whole lot better than I remember. Not sure if it's the 4k scan from the OCN or the vicissitudes of old age.

Yes. In 2006.

Hey Matt! Great review! Makes me want to see the film again, especially with this gorgeous master. I was talking to Bruce Eder today, and he said the last time he added anything to the commentary was in 2006, when it went from Laser Disc to DVD. He hasn't touched it since.

And I grew up not knowing anything about it. I remember the first time I saw The Gospel According to St. Matthew, I was on the edge of my seat, wondering what would happen next.

The theatrical cut of Apocalypse Now may not have been rushed, but it was most certainly chaotic and confused. One of the editors came to my class at NYU and stated Coppola had no idea what the film was about or how to end it. Rather than a narrative, he wanted it to be a kind of hallucination...

I did too. I went because I liked the title, to the first show at the Trans-Lux East, a theater that I later ended up managing. As I recall, the theater was empty. I went back to see it again a few days later, and the theater was still empty. Magnificent cast. Remarkable film. Someone once said...

Found the novel a bit of a slog. Love the movie though.

I saw it when it came out, at the First Avenue Screening Room. It didn't have much of a release. It's an interesting film, gritty in both style and substance and very 70's, also very DYI indie, closer to WANDA than ON THE WATERFRONT. The performances are loose and improvisatory, as is the...

I loved it when it came out. Haven't seen it since, but I'll be picking this up as well. I saw it second run at the Bleecker Street Cinema on a double bill with Breathless, and got a huge kick during that scene in the film when Coburn is being chased in the West Village and runs past the...

As I stated earlier, I prefer both Cotton Club & Apocalypse Now Redux. I think the re-edits are much superior, a better expression of the original footage, in terms of both character motivation and structure. Also, for me, they're more watchable. They pull you right in, and keep you there, in a...

Not to divert the thread, but I believe Portia was part of that as well.

I believe the UHD is all region. I have the Blu-Ray, which is Region B.

Studio Canal releases are in Region B, in the UK, France & Germany. They usually license stuff out in Region A a little later. I imagine this will eventually turn up in the US. Like you, I imported this because I wanted to see it right away. Most of Coppola's re-edits have been coming from...

Yup. Just got mine too. I'm going to watch the theatrical version first. I loved it when I saw it at Radio City, thought it was perfection, so I see no reason to "fix" it. THE COTTON CLUB, on the other hand, had all kinds of issues in its theatrical release, and I thought Coppola's "redux" went...

I've been waiting so long to see these! Maybe not exemplary masterpieces of cinematic art, the technical lapses of early sound film-making get in the way occasionally, but these are wonderful in so many ways.

A funny line, considering the schedule and budget, but compared to TITANIC & AVATAR which followed, TRUE LIES is quite modest and intimate.

When I was a kid, they had them in an arcade at Sylvan Beach. As I recall, there was quite a pronounced flicker.

Managed the theater where it played in both a 70mm blow up as well as 35mm, and can confirm that. When we switched to 35mm at the end of the run, I thought the grain would be less prominent, but not so much.

I believe Jamie Lee Curtis, the co-star of TRUE LIES also says, "I looked it up", in A FISH CALLED WANDA.

I watched this last night too. I was only checking to see what it looked like, and got completely caught up in the film. As Raoul Walsh notes in that brief interview excerpted as an extra, both Cagney and Bogart have this quality, that when the camera is pointed at them, it involves the...

It was intentionally cringeworthy. For me, it was the funniest and most charming part of her performance, because the character she played clearly adored doing it, the singing that is. Her character put everything she ever loved or cared for into that horrendous screeching, and though it might...