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...
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.
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 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...
Yeah. I've been waiting for this one for a real long time. And yes, this is the film where Candice Bergen came into her own as a comic actress. But though Mr. Reynolds and Ms. Clayburgh may have less showy roles, I think they're amazing in it.
The thing about slipcases, they puzzle me. They're...
I recall it being the MGM series, not Ford, though I may be mistaken. I remember it was supposed to be a 35mm Technicolor nitrate for the Ford series, but at the last minute, it was replaced by a 16mm Eastman color print, at least the screening I went to. A year or two later, it did show up for...
Loved the book but never saw the movie for that very reason.
Park Chan-wook directed a miniseries based on the book in the UK in 2018 which I haven't gotten around to watching yet, but is probably a whole lot better.
Ida Lupino is on fire in THEY DRIVE BY NIGHT. She absolutely incinerates the screen in a burst of passionate expression that seems less like acting than possession, a kind of female equivalent to Cagney in WHITE HEAT, also directed by Walsh. Though the film is brillantly made, tough as nails as...
I saw the Ford at MOMA decades ago in what might have been a three-strip nitrate archival print. Not at all a bad film, though the story is very old fashioned, with some dazzling sequences, very emotional, tender performances, especially eye opening deep focus compositions that manage to place...
According to the press release posted at the top of this thread: 4K digital master of Floating Weeds, with uncompressed monaural soundtrack (Blu-ray); High-definition digital master of A Story of Floating Weeds,
I bought a Blu from Masters of Cinema maybe 5 or 6 years ago of FLOATING WEEDS and...
I think a lot of us did. It has the same extras and master as the UK Studio Canal, except for the Laura Mulvey and Leo Marks, which are on the Criterion SD from upteen years ago, which I already have, so there seemed no reason to wait.
I first saw it as part of the NYFF in a special screening at the Ziegfeld in a 70mm blow up, probably in 1972. I was in my early twenties. It was mesmerizing. It reminded me of Michael Snow's THE CENTRAL REGION, which I had just seen at Anthology.
I think I had already read the book. I was...
While I love Lem's novel, I find Tarkovsky's film much more positive, in the way it deals with memory and time. The framing plot, in which the cosmonaut returns to earth, turning the narrative of the novel into another memory, shows a way out of the loop of reminiscence; allied with the...
It helps if you read the book, which I highly recommend. Actually, Tarkovsky turns the thesis of Lem's novel on its head, and the film is missing the closure of the novel, which brought me to tears the first time I read it. The movie brings me to tears too, but in a very different way.
The...