Alphaville coming to Blu ray? (1 Viewer)

AnthonyClarke · Sep 10, 2014

I noticed somewhat belatedly that a brand-new and sparkling restoration of Jean-Luc Godard's wonderful 'Alphaville' was shown in New York earlier this year.
Does this indicate that Studio Canal may give us a Blu ray of this modern classic? It has been given a Blu ray release in Japan (though I'm not sure if this was of the restored version, and it was without Eglish subtitles).
The old Criterion DVD was pretty indifferent .. this movie, featuring the hardboiled detective Lemmy Caution working in a galaxy not too far from our own, really does deserve an authoritative Blu ray release.

bujaki · Sep 11, 2014

That restoration even played Dallas, of all places. I made a special trek to see it for the first time in a large screen (academy ratio).

haineshisway · Sep 11, 2014

Well, it certainly wasn't shown in Academy during its run in LA back in the day, since no theaters could do so - I saw it in 1.85 at whichever art house it played - always a favorite of mine.

JoshZ · Sep 11, 2014

haineshisway said:
Well, it certainly wasn't shown in Academy during its run in LA back in the day, since no theaters could do so - I saw it in 1.85 at whichever art house it played - always a favorite of mine.

As a movie from 1965, Alphaville almost certainly would have been projected in widescreen in its day. The Criterion Laserdisc released in 1995 was letterboxed to 1.66:1. Nonetheless, for the later DVD edition, Godard insisted that Criterion transfer it at Academy Ratio. It has been presented that way ever since.

Lord Dalek · Sep 11, 2014

I would expect a half-assed release from Lionsgate if one comes at all (their Studio Canal Collection seems to have stalled a long time ago).

Cine_Capsulas · Sep 11, 2014

Lord Dalek said:
(their Studio Canal Collection seems to have stalled a long time ago).

I wonder why. That's very unfortunate.

Derrick King · Sep 11, 2014

Lord Dalek said:
I would expect a half-assed release from Lionsgate if one comes at all (their Studio Canal Collection seems to have stalled a long time ago).

Given this press release from Tuesday

On September 9, a collection of eight critically acclaimed French Nouvelle Vague films will be available on Digital HD* and On Demand for the first time ever in the United States from Lionsgate Home Entertainment. In addition to being available on Digital HD on iTunes, the films, with the exception of Darling, will also be available on DVD exclusively at Amazon.com. Featuring the work of legendary directors including Alain Resnais (Hiroshima Mon Amour), Jean-Pierre Melville (Les Enfants Terribles), Jacques Becker (Antoine et Antoinette), Jean-Luc Godard (Hail Mary) and Henri-Georges Clouzot (The Wages of Fear), and acting performances from the likes ofJean-Paul Belmondo (Pierrot le Fou), Jean Gabin (Inspector Maigret), Lino Ventura (Les Misérables, 1928), Jeanne Moreau (Viva Maria!), Anna Karina (A Woman Is A Woman), Simone Signoret (Ship of Fools), Jean-Pierre Cassel (The Diving Bell and the Butterfly) and more, each film is a must-have for any fan of foreign cinema. Pricing and title details available, please check your local cable or digital provider.Last Year at Marienbad (1961)Nominated for an Academy Award® for Best Writing, Story and Screenplay and directed by critically acclaimed director Alain Resnais (Hiroshima Mon Amour), Last Year at Marienbadtakes place in a luxury hotel in Europe where one resident becomes infatuated with a young woman and tries to persuade her that they had an affair the year before at Marienbad. The film, featuring costumes from iconic fashion designer Coco Chanel, received the Gold Lion at the Venice International Film Festival and the 1961 Prix Melies from the French Syndicate of Cinema Critics.Army of Shadows (1969)Jean-Pierre Melville (Les Enfants Terribles) directs a masterpiece about intrepid underground fighters who must grapple with their own brand of honor in their battle against Hitler's regime. Based on the book by Joseph Kessel, the film received awards from the Los Angeles Film Critics Association, the National Society of Film Critics and the New York Film Critics Circle.Touchez Pas au Grisbi (1954)BAFTA Film Awards nominee Jean Gabin (Inspector Maigret) stars as an aging gangster who is forced out of retirement when his best friend is kidnapped for ransom. Directed by Jacques Becker (Antoine et Antoinette), the film also stars Lino Ventura (Les Misérables, 1928) and Jeanne Moreau (Viva Maria!).A Woman is a Woman (1961)From the critically acclaimed director Jean-Luc Godard (Hail Mary) comes a classic story about an exotic dancer who is desperate to have a child with her lover, but when he refuses and turns her to his best friend, feelings become complicated. Winner of the Silver Bear Award at the Berlin International Film Festival, the film stars the award-winning Anna Karina (Band of Outsiders) and Jean-Paul Belmondo (Pierrot le Fou).Le Trou (1960)Directed by Jacques Becker (Antoine et Antoinette) and nominated for two BAFTA Film Awards, Le Trou is considered a masterpiece by the leader of the Nouvelle Vague movement, François Truffaut. Set in 1940s Paris, four prison cellmates plan an escape and induct a new inmate to join their plan... which eventually leads to betrayal.Billy Liar (1963)A six-time BAFTA Film Award nominee, Billy Liar stars Julie Christie (Fahrenheit 451) and Tom Courtenay (Doctor Zhivago) and was directed by Academy Award®-winning director John Schlesinger (Best Director, Midnight Cowboy, 1969). The critically acclaimed film tells the story of Billy Fisher, who lives with his parents and works for an undertaker. But in our hero's rich imagination, he is a military conqueror, a debonair playboy, a brilliant novelist and more. Problems arise when he gets his fantasies mixed up with reality.Quai des Orfèvres (1947)Directed by Henri-Georges Clouzot (The Wages of Fear) and starring Louis Jouvet (The Lower Depths) and Bernard Blier (Monsieur Gangster), the film tells the story of an ambitious singer, her pianist husband and their devoted friend who attempt to cover each other's tracks when a wealthy acquaintance is murdered.Darling (1965)Starring Julie Christie in her Academy Award®-winning role (Best Actress in a Leading Role, Darling, 1965) as a beautiful but amoral model who sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties. The film also stars Dirk Bogarde (A Bridge Too Far) and Laurence Harvey (The Manchurian Candidate, 1962).*Darling will be available via On Demand only.PROGRAM INFORMATIONYear of Production:Last Year At Marienbad: 1960Army of Shadows: 1969Touchez Pas au Grisbi: 1954A Woman Is A Woman: 1961Le Trou: 1960Billy Liar: 1963Quai des Orfèvres: 1947Darling: 1965Title Copyright:Last Year At Marienbad:© 1960 STUDIOCANAL - Argos Films - CinerizArmy of Shadows: © 1969 STUDIOCANAL - Fono RomaTouchez Pas au Grisbi: © 1954 STUDIOCANAL - TF1 DA - Antares FilmsA Woman Is A Woman: © 1961 STUDIOCANAL - Euro International Films S.p.ALe Trou: © 1960 STUDIOCANAL - Magic Film S.P.A.Billy Liar: © 1963 STUDIOCANAL FILMS LtdQuai des Orfèvres: © 1947 STUDIOCANALDarling: © 1965 STUDIOCANALType: Digital PremiereRating: NRGenre:Last Year At Marienbad: Drama, RomanceArmy of Shadows: Drama, WarTouchez Pas au Grisbi: Crime, Action, Drama, ThrillerA Woman Is A Woman: Comedy, DramaLe Trou: Crime, Drama, ThrillerBilly Liar: Comedy, RomanceQuai des Orfèvres: Crime, DramaDarling: Drama, RomanceLanguage: FrenchLast Year At Marienbad: FrenchArmy of Shadows: FrenchTouchez Pas au Grisbi: FrenchA Woman Is A Woman: FrenchLe Trou: FrenchBilly Liar: EnglishQuai des Orfèvres: FrenchDarling: EnglishClosed Captioned:Last Year At Marienbad: NAArmy of Shadows: NATouchez Pas au Grisbi: NAA Woman Is A Woman: NALe Trou: NABilly Liar: EnglishQuai des Orfèvres: NADarling: EnglishSubtitles:Last Year At Marienbad: EnglishArmy of Shadows: EnglishTouchez Pas au Grisbi: EnglishA Woman Is A Woman: EnglishLe Trou: EnglishBilly Liar: NAQuai des Orfèvres: EnglishDarling: NAFeature Run Time:Last Year At Marienbad: 94 minutesArmy of Shadows: 144 minutesTouchez Pas au Grisbi: 96 minutesA Woman Is A Woman: 83 MinutesLe Trou: 131 minutesBilly Liar: 99 minutesQuai des Orfèvres: 103 minutesDarling: 123 minutesFormat:Last Year At Marienbad: WidescreenArmy of Shadows: WidescreenTouchez Pas au Grisbi: Full ScreenA Woman Is A Woman: WidescreenLe Trou: WidescreenBilly Liar: WidescreenQuai des Orfèvres: Full ScreenDarling: WidescreenAudio Status: Mono

I wouldn't expect any more of the former Criterion releases that Lionsgate has to get a Blu-ray release in the US. I think it is going to be streaming/downloading/amazon exclusive MOD DVD from here on out.

JoshZ · Sep 11, 2014

Cremildo said:
I wonder why. That's very unfortunate.

Most of the discs in the Studio Canal Collection had serious quality issues. Bad video transfers, bad sound, etc. Complaints about that, combined with general consumer indifference toward foreign films and catalog titles (much less foreign catalog titles), likely resulted in poor sales.

Lord Dalek · Sep 11, 2014

I think a lot of people also boycotted those releases because StudioCanal's belligerent attitude to Criterion led to subpar products replacing good ones..

AnthonyClarke · Sep 11, 2014

Yes, Studio Canal have really let people down.
And the press release cited earlier does suggest that a Blu ray may never ever see the light of day.
Even if this is one day offered in the States in HD streaming, it would never probably be legally available in Australia. And people (such as Australia's Attorney-General) wonder why video piracy exists!

david hare · Sep 12, 2014

Alphaville when I first saw it was screened in OZ at the Sydney FF 1966 in 1.37 ratio. The film came with projection instructions from Godard as did most European titles during those years. I'v'e subsequently seen it, whether in 35 ,16 or HV and most recently in a Euro iTunes HD DL all in 1.37. Godard NEVER intended any of his open matte films to be masked to 1.66, a ratio he always loathed. Even though his first Scope ratio (in fact filmed in Techniscope rather than anamorphic Franscope) was Une Femme est une Femme from 1961, and he continued to alternately film in both Scope and Academy ratios up to the present day although his last film, the stunning Adieu au Langage in 3D is shot with a variety of digital formats and is screened in standard Digital 1.77 but with ratios for various quoted and "borrowed" materials within the course of the films varying according to provenance, and these are matted accordingly within the 1.77 frame, much like a Blu Ray disc. There are some 1.85 or 1.66 matted versions of some Godards like King Lear doing the rounds but they are masked wihtout the director's consent. Alphaville was never intended for widescreen, like all his other Academy ratio pictures and should not be matted. In a film he made the next year in 1965, Masculin-Feminin (which is also made for Academy ratio) in one scene the actor Jean-Pierre Leaud is in a cinema when the projectionist masks the screening to wide upon which Leaud rushes into the projection booth where Godard presents a lengthy scene of the actor arguing with the projectionist about correct and incorrect ratios. It's one of the first signs of Godardian didacticism in his work, albeit a very witty one.Getting back to Alphaville ,the European ITunes WebDL (720p) which is superb quality is from Studio Canal and worldwide rights can only issue from them, It surprises me they haven't yet gotten around to it in Region B at least.

AnthonyClarke · Sep 12, 2014

Great info David ... now I hope a Region B issue will come one day soon!
How extraordinary that this chillingly futuristic movie with its alienating architecture was totally filmed in then-present-day Paris giving us such a bleak futuristic vision with no artifice employed of any kind!

haineshisway · Sep 13, 2014

david hare said:
Alphaville when I first saw it was screened in OZ at the Sydney FF 1966 in 1.37 ratio. The film came with projection instructions from Godard as did most European titles during those years. I'v'e subsequently seen it, whether in 35 ,16 or HV and most recently in a Euro iTunes HD DL all in 1.37. Godard NEVER intended any of his open matte films to be masked to 1.66, a ratio he always loathed. Even though his first Scope ratio (in fact filmed in Techniscope rather than anamorphic Franscope) was Une Femme est une Femme from 1961, and he continued to alternately film in both Scope and Academy ratios up to the present day although his last film, the stunning Adieu au Langage in 3D is shot with a variety of digital formats and is screened in standard Digital 1.77 but with ratios for various quoted and "borrowed" materials within the course of the films varying according to provenance, and these are matted accordingly within the 1.77 frame, much like a Blu Ray disc. There are some 1.85 or 1.66 matted versions of some Godards like King Lear doing the rounds but they are masked wihtout the director's consent. Alphaville was never intended for widescreen, like all his other Academy ratio pictures and should not be matted. In a film he made the next year in 1965, Masculin-Feminin (which is also made for Academy ratio) in one scene the actor Jean-Pierre Leaud is in a cinema when the projectionist masks the screening to wide upon which Leaud rushes into the projection booth where Godard presents a lengthy scene of the actor arguing with the projectionist about correct and incorrect ratios. It's one of the first signs of Godardian didacticism in his work, albeit a very witty one.Getting back to Alphaville ,the European ITunes WebDL (720p) which is superb quality is from Studio Canal and worldwide rights can only issue from them, It surprises me they haven't yet gotten around to it in Region B at least.

He may have sent instructions and he may have never intended it not to be shown that way, but it WAS shown that way in LA, sorry to tell you. As he knew it would be.

david hare · Sep 14, 2014

Bruce I don't doubt that for a moment. The same situation now prevails in virtually every cinema in Oz and NZ, it is physical impossible to project unmasked a film made for 1.37, like some of Kelly Reichardt's earlier films or Gus van Sant's Death trilogy. I have only been able to see those films projected in 1.37 in France where they still (orused to until three years ago at least)accommodate 1.37 in some cinemas.

haineshisway · Sep 15, 2014

david hare said:
Bruce I don't doubt that for a moment. The same situation now prevails in virtually every cinema in Oz and NZ, it is physical impossible to project unmasked a film made for 1.37, like some of Kelly Reichardt's earlier films or Gus van Sant's Death trilogy. I have only been able to see those films projected in 1.37 in France where they still (orused to until three years ago at least)accommodate 1.37 in some cinemas.

Certainly the case from 1960 on with art house cinema in Los Angeles (and I have to presume mostly everywhere else) - they simply couldn't show it in 1.37. I took my daughter to the Fine Arts theater in Beverly HIlls around 1974 because they were showing Singin' in the Rain. 1.85 - no feet. Very bad but that's all they could do, I guess.

EddieLarkin · Sep 15, 2014

david hare said:
Alphaville when I first saw it was screened in OZ at the Sydney FF 1966 in 1.37 ratio. The film came with projection instructions from Godard as did most European titles during those years. I'v'e subsequently seen it, whether in 35 ,16 or HV and most recently in a Euro iTunes HD DL all in 1.37. Godard NEVER intended any of his open matte films to be masked to 1.66, a ratio he always loathed. Even though his first Scope ratio (in fact filmed in Techniscope rather than anamorphic Franscope) was Une Femme est une Femme from 1961, and he continued to alternately film in both Scope and Academy ratios up to the present day although his last film, the stunning Adieu au Langage in 3D is shot with a variety of digital formats and is screened in standard Digital 1.77 but with ratios for various quoted and "borrowed" materials within the course of the films varying according to provenance, and these are matted accordingly within the 1.77 frame, much like a Blu Ray disc. There are some 1.85 or 1.66 matted versions of some Godards like King Lear doing the rounds but they are masked wihtout the director's consent. Alphaville was never intended for widescreen, like all his other Academy ratio pictures and should not be matted. In a film he made the next year in 1965, Masculin-Feminin (which is also made for Academy ratio) in one scene the actor Jean-Pierre Leaud is in a cinema when the projectionist masks the screening to wide upon which Leaud rushes into the projection booth where Godard presents a lengthy scene of the actor arguing with the projectionist about correct and incorrect ratios. It's one of the first signs of Godardian didacticism in his work, albeit a very witty one.Getting back to Alphaville ,the European ITunes WebDL (720p) which is superb quality is from Studio Canal and worldwide rights can only issue from them, It surprises me they haven't yet gotten around to it in Region B at least.

Just to complete this picture of Godard's use of ARs over the years, some of his films were originally hard matted to 1.66:1. Tout va bien is one, and I believe Week End is another.

JeffT. · Sep 15, 2014

alphaville-1965-www.cinematheia.com_.jpg

I love this period of filmmaking: ALPHAVILLE (1965), the Connery Bond films, DR. STRANGELOVE (1964), A SHOT IN THE DARK (1964), A FISTFULL OF DOLLARS (1964), FAHRENHEIT 451 (1966) all these mid-1960s theatrical releases had that aesthetically appealing distinctive Euro-look to them that made them instant classics.

I am certainly in favour of a high definition blu-ray release of ALPHAVILLE (1965).

Jeff T.

david hare · Sep 15, 2014

Certainly the case from 1960 on with art house cinema in Los Angeles (and I have to presume mostly everywhere else) - they simply couldn't show it in 1.37. I took my daughter to the Fine Arts theater in Beverly HIlls around 1974 because they were showing Singin' in the Rain. 1.85 - no feet. Very bad but that's all they could do, I guess.

This is how the USA is/was so totally different to everywhere else (perhaps not so much New York). Multiple AR screen matting including 1.37 was still operational in most Australian cinemas until at least the 1990s. Same for NZ. And certainly in most of Europe and the UK. They simply never got rid of the mechanical masking gear even when they were converting old single screen houses to multi screen. But by the time Van Sant made Elephant for instance (early 2000s) I saw it in a provincial French MK2 cinema in blissfully intact 1.37. But back in Sydney not only was it only shown in cropped 1.85, they only sent a bloody hard matted print, as they did with the next two titles in that run, Last Days and Paranoid Park. Since DCP it's at least hypothetically possible to screen 1.37 films within the standard 2k or 4k volume. Which is what the recent NZIFF did with DCPs of Belle et la Bete, Lady from Shanghai and the Ritrovate restoration of the 1930 silent version of Prix de Beaute.I'm checking back through my Godards. No question the Alphaville resto is open matte full frame. If I knew how to post screens here I am happy to do so. I also checked the Criterion Weekend which is matted to 1.66. It's all wrong. While the headroom is untouched it's the foot room of all thing that suffers most from the masking. In all those tableau shots of characters in costume from novels they are reciting in the woods the mask constantly crops out their hands holding the books they are reading. How often are Criterion dropping the ball these days? They did this for Weekend, and then they inexplicably did Siegel's Riot in Cell Block 11 in open mattewhen it's blazingly obviously made for 1.85.

titch · Jul 11, 2016

The restoration of Alphaville is included in the blu-ray region 'B'-locked GODARD - The Essential Collection. The transfer is stunning, really beautiful - it really does justice to Raoul Coutard's exceptional photography. There are a couple of bonus features (an introduction by Colin MacCabe and an interview with Anna Karina), as well as a trailer and posters but they are superfluous. The other blu-ray in the set, which has not previously been released (apart from in Japan) is Une Femme Est Une Femme. The transfer of that is very similar to Le Mépris - these are not 4K restorations but much better than what I've previously had on Criterion laserdiscs and DVDs. Breathless, Pierrot Le Fou and Le Mépris have all been released with the same transfers by StudioCanal previously. For those with region-free blu-ray players, the price on Amazon.co.uk has now been reduced by 45% since it was originally released 1 February 2016. And the dollar-pound exchange rate really favours people Stateside....

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