Blu-ray Review Summertime (1955) Blu-ray Review (1 Viewer)

[John Skoda]

Too bad they just do not issue a statement why they went this route and show it was the intended viewing ratio

Exactly--that's the big question for me. I bought it anyway, but I still wonder what they were thinking, or what evidence they had.

 

[Thomas T]

Too bad they just do not issue a statement why they went this route and show it was the intended viewing ratio

There's an arrogance to Criterion who seems to feel they are the definitive label when it comes to cinema on physical media. Everything they do is (supposedly) the best quality and they are not to be questioned. Perhaps they were at one time but whereas I eagerly anticipated their announcements in the past, as a company they interest me less and less these days. I get more excited about the Kino Lorber and Warner Archives announcements these days. Hell, in the recent B&N half off sale, I only bought three titles whereas in the past I would easily buy triple that.

 

[RobertMG]

There's an arrogance to Criterion who seems to feel they are the definitive label when it comes to cinema on physical media. Everything they do is (supposedly) the best quality and they are not to be questioned. Perhaps they were at one time but whereas I eagerly anticipated their announcements in the past, as a company they interest me less and less these days. I get more excited about the Kino Lorber and Warner Archives announcements these days. Hell, in the recent B&N half off sale, I only bought three titles whereas in the past I would easily buy triple that.

Before I had to cut back on discs due to severe health and not working I was thrilled to get Love Affair History Is Made At Night thats the great stuff they shine on --- hoping for Gunga Din but getting tired of their artsy fartsy picks more CLASSIC Hollywood! This Summertime deal is not helping their rep either -

 

[Thomas T]

--- hoping for Gunga Din but getting tired of their artsy fartsy picks more CLASSIC Hollywood! This Summertime deal is not helping their rep either -

Well, on that point, we'll have to disagree. I would love more international cinema rather than licensing out Hollywood product. Surely titles like Double Indemnity, Bringing Up Baby etc. could have been done by the studios that owned them.

Meanwhile, Criterion could release such gems as The Pizza Triangle (Dramma Della Gelosia) (1970) with Marcello Mastroianni and Monica Vitti, The Devil By The Tail (Le Diable Par La Queue) (1969) with Yves Montand and Maria Schell, The Wanderer (Le Grand Meauines) (1967) with Brigitte Fossey, Le Miroir A Deux Faces (The Mirror Hast Two Faces) (1958) with Michele Morgan, Night Affair (Le Desordre Et La Nuit) (1958) with Jean Gabin and Danielle Darrieux, De Sica's Gold Of Naples (L'Oro Di Napoli) with Sophia Loren and Toto, Hitoshi Yazaki's Strawberry Shortcakes (2006) to name but a handful.

 

[RobertMG]

Well, on that point, we'll have to disagree. I would love more international cinema rather than licensing out Hollywood product. Surely titles like Double Indemnity, Bringing Up Baby etc. could have been done by the studios that owned them.

Meanwhile, Criterion could release such gems as The Pizza Triangle (Dramma Della Gelosia) (1970) with Marcello Mastroianni and Monica Vitti, The Devil By The Tail (Le Diable Par La Queue) (1969) with Yves Montand and Maria Schell, The Wanderer (Le Grand Meauines) (1967) with Brigitte Fossey, Le Miroir A Deux Faces (The Mirror Hast Two Faces) (1958) with Michele Morgan, Night Affair (Le Desordre Et La Nuit) (1958) with Jean Gabin and Danielle Darrieux, De Sica's Gold Of Naples (L'Oro Di Napoli) with Sophia Loren and Toto, Hitoshi Yazaki's Strawberry Shortcakes (2006) to name but a handful.

I do not disagree with your picks -- but Criterion has done alright on classics --- the two you mentioned were done by the studios that owned them two but I still bought both versions because they both offered great presentations - kind of shocked 1940's The Thief Of Bagdad hasn't gotten blu ray and 4k

 

[Robin9]

Well, on that point, we'll have to disagree. I would love more international cinema rather than licensing out Hollywood product. Surely titles like Double Indemnity, Bringing Up Baby etc. could have been done by the studios that owned them.

- and High Sierra; and The Asphalt Jungle!

Meanwhile, Criterion could release such gems as The Pizza Triangle (Dramma Della Gelosia) (1970) with Marcello Mastroianni and Monica Vitti, The Devil By The Tail (Le Diable Par La Queue) (1969) with Yves Montand and Maria Schell, The Wanderer (Le Grand Meauines) (1967) with Brigitte Fossey, Le Miroir A Deux Faces (The Mirror Hast Two Faces) (1958) with Michele Morgan, Night Affair (Le Desordre Et La Nuit) (1958) with Jean Gabin and Danielle Darrieux, De Sica's Gold Of Naples (L'Oro Di Napoli) with Sophia Loren and Toto, Hitoshi Yazaki's Strawberry Shortcakes (2006) to name but a handful.

Plus those late '50s/early '60s movies with Silvana Mangano or Claudia Cardinale!

 

[Robert Crawford]

With the current output the studios have been releasing classic films onto Blu-ray and 4K disc, I'm glad that Criterion is releasing some of them on those formats.

 

[RobertMG]

With the current output the studios have been releasing classic films onto Blu-ray and 4K disc, I'm glad that Criterion is releasing some of them on those formats.

I forgot about High Sierra

 

[Matt Hough]

Criterion's release slate (laserdisc, DVD, Blu-ray, and 4K) has ALWAYS included a mix of popular Hollywood classics and international films both famous and obscure. I have no problem at all with their continuing in that tradition. But their intransigent attitude about Summertime simply defies all rational explanation. I don't think I'll ever understand their reasoning, but it won't prevent me from supporting their efforts with other releases (and I'm glad to have Summertime in HD even if I have to tinker with my equipment to present it as I would like it).

 

[RobertMG]

Criterion's release slate (laserdisc, DVD, Blu-ray, and 4K) has ALWAYS included a mix of popular Hollywood classics and international films both famous and obscure. I have no problem at all with their continuing in that tradition. But their intransigent attitude about Summertime simply defies all rational explanation. I don't think I'll ever understand their reasoning, but it won't prevent me from supporting their efforts with other releases (and I'm glad to have Summertime in HD even if I have to tinker with my equipment to present it as I would like it).

I agree --- so many great films from the Golden Age await their Criterion treatment!

 

[Josh Steinberg]

Criterion, more than any other label, relies on an intangible mystique as part of its appeal. I don’t begrudge them for that - it’s a smart business move that has mostly insulated them from the drastic changes in the physical media market that’s harmed many of the other players in the same space. I mean, how many posts have we had over the years where people hope their favorite title comes out on Criterion, or wish that a Warner Archive or Sony title would have come from them (even though the studios are supplying the master so the presentation quality would be the same either way)? Even filmmakers act honored when one of their titles is licensed for release through Criterion. They are perceived as bringing an extra special something to the table that makes one of their discs, in the eyes of the customer, seem like something more than a disc from anyone else. That’s brilliant marketing and I can’t help but admire it. I’d happily accept a job at that company if one was in the offering.

But that can sometimes be a double edged sword, as can be seen here. People keep asking why they’ve chosen the ratio they’ve chosen, looking for a deeper answer that might explain the mystery, when I think it’s really simple - they believe they’re right. As such, they’re not willing to enter into a discussion about it. And again, I do get that - they’re sure they’re right so why would they want or need to talk to anyone who, in their view, is both wrong and wants them to do something they genuinely believe is incorrect?

But the thing is - this happens with major studios sometimes too. So even if this disc was coming from another smaller label or a major studio, if they thought it was right, they wouldn’t be inclined to debate it either. The number of Blu-rays I have with aspect ratio issues is, in general, smaller than the number of DVDs with ratio issues, but it still occasionally happens. What I’m trying to say is - I’m not really sure any other label or studio would do things much differently in a comparable position.

The mystique that Criterion has cultivated around their brand does, I think, make collectors more inclined to accept their verbiage than they would, say, Kino, but at the end of the day, we have a company that believes they’ve released a correct product choosing to stand behind it, and I don’t think that’s unique to them.

 

[Robert Crawford]

The Criterion mystique has lessened for me over the years. Ten years ago I held them in higher regard than I do today.

 

[RobertMG]

The Criterion mystique has lessened for me over the years. Ten years ago I held them in higher regard than I do today.

Not classics but they are sitting on the Bulldog Drummond films - they are neat detective films they replied on their fb page they could see them getting released too --- not restorations but maybe as a set === and we still are waiting

 

[bujaki]

Not classics but they are sitting on the Bulldog Drummond films - they are neat detective films they replied on their fb page they could see them getting released too --- not restorations but maybe as a set === and we still are waiting

Those would have been perfect on the now eclipsed Eclipse label.

 

[RobertMG]

Those would have been perfect on the now eclipsed Eclipse label.

Yep - maybe they would revive that to release these. Another puzzlement why no release of Hitch's 1936 Sabotage

 

[Noel Aguirre]

Criterion should release a Italian peplum box set like their Showa Godzilla set- that would be fun to finally get Hercules and H Unchained.

 

[Richard M S]

If you don't care about some of the titles they've been releasing (and I don't either, to be frank), you could always just not buy them.

Yes, and based on a quick review of where more than a few recent titles place on Amazon's Best Sellers Rank indicates that more than a few people have decided to just not buy them.

It's a business and Criterion will eventually have to (once again) adjust their release slate, even if it means being subjected to another unfair New York Times article.

 

[Filmgazer]

I do not disagree with your picks -- but Criterion has done alright on classics --- the two you mentioned were done by the studios that owned them two but I still bought both versions because they both offered great presentations - kind of shocked 1940's The Thief Of Bagdad hasn't gotten blu ray and 4k

It would be wonderful to have Alexander Korda's THE THIEF OF BAGDAD (1940) finally upgraded to Criterion Blu-ray!

 

[roxy1927]

I much prefer the American cut of the very beautiful L'Oro di Napoli. I went to see the Italian cut and it has too many stories and kills the ending with a very unfunny story about Bronx cheers which everyone in the film seems to find hysterically funny. The US version is much tighter and the ending with a very beautiful but very poor Silvana Mangano is devastating. Why is it these great European beauties were such great actors? Even the very handsome men like Delon, Philipe and Mastrianni.

 

[Noel Aguirre]

I mean... what on earth makes Lee and Maria think this:

View attachment 144336

...is somehow more artistically composed than THIS!

View attachment 144337

The horizon line is all wrong on the open matte. I swear to god. And this is a film that features a lot of horizon line shots.

Maybe because our focus should be on her and not the lost horizon? And again look to the opening credits for your answer. As it was shot in the prior year maybe it was simply shot for 1:37 but projected diff to fit screens and the image opened up after the credits? But the credits are definitely composed for 1:37 as the full drawn images show. However an argument could be made for it either way IMO. Maybe it’s Lean’s preferred way?