Your thoughts on Kino-Lorber Blu-rays (1 Viewer)

[ahollis]

Not quite .. Deep Discount is certainly cheaper than Amazon for instance, but the company I'm thinking of it maybe also a manufacturer of the discs.
Thanks for getting back to me though.

DVDs - Blu-Rays - Classic Vintage Special Interest - Movies Video

www.moviezyng.com

 

[Kino Lorber Insider]

A few words about...™ - A Fistful of Dollars & For a Few Dollars More -- in 4k UHD - Robert Harris

UHD Review - A Few Words About - A few words about...™ - A Fistful of Dollars & For a Few Dollars More -- in 4k UHD

After a number of one-shot TV appearances in the late 1950s and early '60s - Highway Patrol, Death Valley Days, Maverick, Alfred Hitchcock Presents and Mister Ed, Clint Eastwood found a spot on a series, Rawhide, and stayed with it for 217 episodes - six years (1959-1965), and finally made his...

www.hometheaterforum.com

 

[AnthonyClarke]

DVDs - Blu-Rays - Classic Vintage Special Interest - Movies Video

www.moviezyng.com

Thanks but still too expensive. Eight dollars for one disc !

 

[B-ROLL]

Just saw this in the theatre a couple of days ago in NYC. If you love musicals, Film adaptations of musicals, or just love Fiddler on the Roof, it's a modest and enjoyable documentary. Not a lot of new information or perspectives but I may just be an old guy who has seen too much already... LOL! The most interesting interviews for me were those from John Williams. I'm eager to see the additional material and since this is also apart of my curriculum and teaching work it will be an easy day one purchase. I do wish those associated with the Jewison film were kinder and more generous about Zero Mostel. I saw his Tevye on the farewell tour, when I was in High School. There's plenty of room for his genius to shine alongside Topol's on the screen and in the revival and... Zero did it first. It was built on him so I'll always have a lot of respect for his singular and indelible talent. I digress...

Zero Mostel was on a talk show years after the film opened and totally trashed the film version.
I'm sure the feeling was

Mootual ...

 

[Camps]

Received my Treasure of the Four Crowns yesterday and watched last night -- and this outstanding (literally...) rendition is a hoot! Pop-out City. Tons of in-your-face effects with a crispness and clarity that renders irrelevant any previous version you've seen.

I have not yet watched the anaglyph version but 3D Film Archive has managed to improve that process dramatically as well -- such that this should be a no-brainer for even 2D-only fans of cheezy Raiders-inspired movies featuring a Members Only-attired hero!

And ongoing Kudos to Kino for their collaboration with 3DFA on these tiles!

 

[Kino Lorber Insider]

We just added 40 titles to our ongoing WHILE SUPPLIES LAST Sale:
https://www.kinolorber.com/list/view/code/while-supplies-last-2022

Here’s the list of the NEW titles:
Baron Blood
A Bay of Blood
Black Sabbath (Italian Version)
Black Sunday (Italian Version)
Black Sunday (AIP Version)
Bobbie Jo and the Outlaw
Burn, Witch, Burn
The Day After
Duel in the Sun
Evil Eye/The Girl Who Knew Too Much
Five Dolls for an August Moon
Four Times That Night
Hell in the Pacific
Junior Bonner
Kidnapped (Rabid Dogs)
Kill, Baby …Kill
Knives of the Avenger
Lisa and the Devil/House of Exorcism
Lost Highway
Malice
Malone
Monster Dog
The Night Stalker
The Night Strangler
The Paradine Case
Prizzi’s Honor
Roy Colt and Winchester Jack
Siege of Firebase Gloria
Silkwood
Since You Went Away
SpaceCamp
The Spiral Staircase
Take the Money and Run
They Shoot Horses, Don’t They?
Tough Guys
Trilogy of Terror
Wild at Heart (DVD)

 

[BobO'Link]

Lisa and the Devil/House of Exorcism shows "Currently unavailable." Is this something that'll be fixed or is it truly OOS?

 

[Thomas T]

Zero Mostel was on a talk show years after the film opened and totally trashed the film version.
I'm sure the feeling was Mootual ...

Zero Mostel was one of those stage performers who didn't transition well to film. On stage, he was wonderful but he was simply too much on screen. It worked for the film version of A Funny Thing Happened On The Way To The Forum because that was essentially burlesque. Fiddler On The Roof dealt with a harsh reality which required subtlety Mostel wasn't capable of. He's one of the reasons I dislike the 1967 The Producers. It was like sitting next to a person yelling for 2 hours. Funny, yes? Funny, no! Mostel's oversized personality just didn't work on the screen. Carol Channing and Ethel Merman are two other stage personalities whose film careers were hampered by their playing to the balcony style. Sometimes, in the right part, it could work (like Merman's battle axe mother in law in It's A Mad Mad Mad Mad World) but not when playing real human beings.

 

[Gerani53]

Zero Mostel was one of those stage performers who didn't transition well to film. On stage, he was wonderful but he was simply too much on screen. It worked for the film version of A Funny Thing Happened On The Way To The Forum because that was essentially burlesque. Fiddler On The Roof dealt with a harsh reality which required subtlety Mostel wasn't capable of. He's one of the reasons I dislike the 1967 The Producers. It was like sitting next to a person yelling for 2 hours. Funny, yes? Funny, no! Mostel's oversized personality just didn't work on the screen. Carol Channing and Ethel Merman are two other stage personalities whose film careers were hampered by their playing to the balcony style. Sometimes, in the right part, it could work (like Merman's battle axe mother in law in It's A Mad Mad Mad Mad World) but not when playing real human beings.

Interesting observation, and I agree to some extent. I think you're right about FIDDLER and A FUNNY THING, but I feel Zero's wild performance in THE PRODUCERS was totally in keeping with the madness of the movie itself, and his brash, larger-than-life boisterousness was the ideal counterpart to Gene Wilder's equally stylized meekness and emotional instability. Also, we shouldn't forget how well Mostel's natural quirkiness was used in the excellent crime melodramas PANIC IN THE STREETS and THE ENFORCER. But indeed, the right casting choice was made for the film version of FIDDLER...

 

[Beckford]

I feel Zero's wild performance in THE PRODUCERS was totally in keeping with the madness of the movie itself, and his brash, larger-than-life boisterousness was the ideal counterpart to Gene Wilder's equally stylized meekness and emotional instability. Also, we shouldn't forget how well Mostel's natural quirkiness was used in the excellent crime melodramas PANIC IN THE STREETS and THE ENFORCER.

Glad to see you cite Mostel's fantastic onscreen work in "The Producers" and "Panic in the Streets". Both nomination worthy performances. And personally I think he should have won the supporting trophy for "The Producers" in '76. But he didn't even snag a nomination. Definitely one of the Academy's most glaring omissions.

 

[Kino Lorber Insider]

Lisa and the Devil/House of Exorcism shows "Currently unavailable." Is this something that'll be fixed or is it truly OOS?

Yes, it'll be fixed.

 

[Kino Lorber Insider]

Jewison said, he always wanted Topol after seeing him perform the role in Europe. He said Mostel sounded too much like a Brooklyn Jew, his words.

He was also surprised when Arthur Krim and the other UA big shots offered him the film in a private NYC meeting, he thought to himself, oh my god, they think I'm Jewish.

 

[darkrock17]

Zero Mostel was one of those stage performers who didn't transition well to film. On stage, he was wonderful but he was simply too much on screen. It worked for the film version of A Funny Thing Happened On The Way To The Forum because that was essentially burlesque. Fiddler On The Roof dealt with a harsh reality which required subtlety Mostel wasn't capable of. He's one of the reasons I dislike the 1967 The Producers. It was like sitting next to a person yelling for 2 hours. Funny, yes? Funny, no! Mostel's oversized personality just didn't work on the screen. Carol Channing and Ethel Merman are two other stage personalities whose film careers were hampered by their playing to the balcony style. Sometimes, in the right part, it could work (like Merman's battle axe mother in law in It's A Mad Mad Mad Mad World) but not when playing real human beings.

Interesting observation, and I agree to some extent. I think you're right about FIDDLER and A FUNNY THING, but I feel Zero's wild performance in THE PRODUCERS was totally in keeping with the madness of the movie itself, and his brash, larger-than-life boisterousness was the ideal counterpart to Gene Wilder's equally stylized meekness and emotional instability. Also, we shouldn't forget how well Mostel's natural quirkiness was used in the excellent crime melodramas PANIC IN THE STREETS and THE ENFORCER. But indeed, the right casting choice was made for the film version of FIDDLER...

ONLY Zero Mostel could be Max Bialystock, no one else would have been able to bring that character to life like he did. The opening of the film is Zero at his best when he's chasing/escaping from feisty old Estelle Winwood's character "Hold Me, Touch Me". No other actor at the time in the late 60's or even now could come close to what Zero did with Max Bialystock. Nathan Lane's portrayal on Broadway and the 2005 film was it's own thing removed from the original 1967/1968 classic.

 

[Kino Lorber Insider]

Lisa and the Devil/House of Exorcism shows "Currently unavailable." Is this something that'll be fixed or is it truly OOS?

Fixed.

 

[Kino Lorber Insider]

Deleted

 

[Beckford]

Glad to see you cite Mostel's fantastic onscreen work in "The Producers" and "Panic in the Streets". Both nomination worthy performances. And personally I think he should have won the supporting trophy for "The Producers" in '76. But he didn't even snag a nomination. Definitely one of the Academy's most glaring omissions.

Looking back at my own message I see I wrote down the wrong title. It's Mostel's performance in "The Front" that I think deserved the supporting Oscar in '76. It would have been such a meaningful win for him, playing (brilliantly) someone whose career and life were capsized by the McCarthy Era goings on.

 

[Robin9]

Interesting observation, and I agree to some extent. I think you're right about FIDDLER and A FUNNY THING, but I feel Zero's wild performance in THE PRODUCERS was totally in keeping with the madness of the movie itself, and his brash, larger-than-life boisterousness was the ideal counterpart to Gene Wilder's equally stylized meekness and emotional instability. Also, we shouldn't forget how well Mostel's natural quirkiness was used in the excellent crime melodramas PANIC IN THE STREETS and THE ENFORCER. But indeed, the right casting choice was made for the film version of FIDDLER...

He was also pretty effective in Sirocco which is coming out on Blu-ray in the U.K.

 

[Nick*Z]

Coming to DVD and Blu-ray July 26th from Kino Lorber and Zeitgeist Films!

Fiddler's Journey to the Big Screen
Featuring: Norman Jewison, John Williams, Sheldon Harnick, Topol, Rosalind Harris, Michele Marsh, Neva Small, Robert F. Boyle, Kenneth Turan
Directed by Daniel Raim (Harold and Lillian: A Hollywood Love Story)

The fall of 2021 marked the 50th anniversary of Fiddler on the Roof, the film Pauline Kael (The New Yorker) called “the most powerful movie musical ever made.” Narrated by Jeff Goldblum, FIDDLER’S JOURNEY TO THE BIG SCREEN captures the humor and drama of director Norman Jewison’s quest to recreate the lost world of Jewish life in Tsarist Russia and re-envision the beloved stage hit as a wide-screen epic. Oscar®-nominated filmmaker Daniel Raim puts us in the director’s chair and in Jewison’s heart and mind, drawing on behind-the-scenes footage and never-before-seen stills as well as original interviews with Jewison, Topol (Tevye), composer John Williams, production designer Robert F. Boyle, film critic Kenneth Turan, lyricist Sheldon Harnick, and actresses Rosalind Harris, Michele Marsh, and Neva Small (Tevye’s daughters). This inspiring film explores how the experience of making Fiddler deepened Jewison as an artist and revived his soul.

Special features:
• The Man on Lincoln’s Nose: Daniel Raim’s Oscar®-nominated short about production designer Robert F. Boyle, featuring Norman Jewison
• Additional interviews with John Williams, Topol, Rosalind Harris, Neva Small, and Sheldon Harnick
• Film researcher Lillian Michelson on the undergarments used in Fiddler (excerpt from Harold and Lillian: A Hollywood Love Story)
• Optional English SDH Subtitles

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Brilliant. Now, if only someone at Kino could convince someone at MGM that their present Blu-ray of the actual movie - Fiddler on the Roof - is terrible, and do a complete remaster in both Blu and 4K - now, that would really be cause for celebration!

 

[trajan007]

Yes we want FIDDLER in 4k but I don't think the current bluray is bad. Remember it used a lot of filtering.

 

[J. Casey]

Love the new FRANCIS THE TALKING MULE COLLECTION. I'd forgotten how charming some of these films were and love Donald O'Connor in anything. Ordered directly from Kino....can't beat the price.