Akira Kurosawa - 4 Samurai Classics (Seven Samurai / The Hidden Fortress / Yojimbo / Sanjuro) - Criterion Collection (1956) Review

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(More customer reviews)That's right, these ARE some of the greatest Japanese films ever made and are especially wonderful samurai movies!
By now you know abouth the movies that are included so let me make some technical reference to the DVDs.
In terms of picture quality, Seven Samurai has been restored to present the best presentation of the film to date. Yojimbo features a fine 2.35:1 non-anamorphic transfer of the film. Don't get me wrong, it is quite good, especially for a film of its age, but you won't be writing home about it. Sanjuro (my favorite of the bunch) is presented in a non-anamorphic 2.35:1 aspect ratio and starts off poor. The film looks worn for the first few minutes and shapes up after that. Overall, a very good transfer. Hidden Fortress has the best picture of the bunch, having been mastered from a pristine interpositive to a high definition transfer!
Sound on the disc is as follows: Seven Samurai features a restored mono track and is a improvement over the old video tape I used to watch! Yojimbo's sound isn't quite as good. There's a hiss throughout the Japanese 2.0 Mono track. To sum it up, it is fair. Sanjuro, happily, doesn't have the hiss present in the Yojimbo track. It is a pleasant Japanese 1.0 mono track. Hidden Fortress gives the viewer the choice of a 1.0 mono track or a 3.0 Dolby Digital track.
Extras? Seven Samurai features audio commentary by Japanese film historian Michael Jeck which offers insights into Kurosawa's work, the film and Japanese culture which combine to make a highly engaging commentary. Also included is a theatrical trailer. Yojimbo is pretty much a bare bones disc, including only the trailer and liner notes. Sanjuro has the same features as Yojimbo. Theatrical trailer and liner notes. Hidden Fortress includes a theatrical trailer and an eight minute interview with George Lucas who discusses Kurosawa's influence on him as a filmmaker.
In conclusion, these are excellent films with presentations that I'm sure are the best we will ever see for them. Don't hesitate to add these to your film library!

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Brief Encounter - Criterion Collection (1946) Review

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(More customer reviews)Master director David Lean's reputation undoubtedly consists mostly of his brilliance with his epic panoramas, such as the classics THE BRIDGE ON THE RIVER KWAI, LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, and A PASSAGE TO INDIA. Of course those who look closely in these films will see that Lean chose only the best actors to flesh out real, true characters caught in the midst of overwhelming events--witness Peter O'Toole's vivid characterization of T. E. Lawrence and Peggy Ashcroft's beautiful, indelible Mrs Moore from A PASSAGE TO INDIA. With BRIEF ENCOUNTER, the actors are everything, too.
The story is simple--in a very sad, post-WWII London, two married people meet by chance at a (glorious) train station and begin a friendship which slips quickly into love. The depth of their feelings is never in question, as Trevor Howard and the incandescent Celia Johnson portray these feelings honestly and without pretense, clutter, or the manneredness of modern depicitions of love. Whether the characters will be adulterers or not is important to them; they have principles and do truly care for their existing families. Again, they are two ordinary adults in the midst of something overwhelming; how they handle the situation is what gives them grace and dignity. The use of Rachmaninoff's Concerto no. 2 in C minor, especially the adagio section, was a stroke of genius. One cannot hear the piece ever again without imagining a tear streaming from Miss Johnson's large, soulful blue eyes. Fans of romance, classic cinema, or simply great acting should not miss this experience. The DVD transfer is excellent and Criterion should be applauded again for restoring a vital classic to modern audiences.

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From Noël Coward's play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score. Criterion is proud to present Lean's award-winning masterpiece a beautifully restored digital transfer.

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The Hidden Fortress - Criterion Collection (1960) Review

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(More customer reviews)I have to confess my bias at the start: Akira Kurosawa is easily one of my two or three favorite directors. If forced to sit down and do a list of my 25 favorite films, SEVEN SAMURAI would be in a tie for first, and two or three others would join it on the list.
This was the first movie that Kurosawa made that was widescreen, and therefore the first that will derive maximum benefit from DVD. (Read through the early reviews of the DVD of SEVEN SAMURAI to see some of the confusion over this.) His use of the wider angle is magnificent, presenting the view with extraordinary vistas again and again. Kurosawa never seemed to struggle with the technical aspects of filmmaking, and would later make a similarly effortless transition to color.
This is one of Kurosawa's finest films. It is difficult to say that it is his best, since his very best films are among the greatest ever made. Suffice it to say, that the film bears in every way the mark of greatness. The camera work is flawless. Though black and white, the film is gorgeous to look at every moment. The acting is impeccable, with Mifune giving a somewhat difference performance in this one. If we are more accustomed to think of him as a more fiery character, as in RASHOMON or SEVEN SAMURAI or THRONE OF BLOOD, in this one he is magisterial and aristocratic.
I think the parallels to STAR WARS are rather overblown, and anyone coming to this film looking for tones of George Lucas rather than Akira Kurosawa just may find themselves disappointed. Yes, there is a princess, and yes, there are some very small plot parallels, and yes, there are two comic characters included to provide light entertainment and to move the plot along. But none of these are crucial elements of THE HIDDEN FORTRESS.
But I do think the STAR WARS references bring up a very interesting point about Kurosawa: more than anyother foreign filmmaker in history, Kurosawa is the one with the easist relationship with American culture. People who normally dislike foregin film can respond powerfully to his films. I once showed SEVEN SAMURAI to a group of high school boys. These kids were almost in a state of mutiny, because 1) the film was black and white and 2) it was subtitled. But by the end of the evening they were all entranced and had become fans of the film.
I think the reason they responded so easily was partly because Kurosawa was a cinematic genius, but also because he had absorbed so much of American culture and film technique in his films. Just as many American films have borrowed directly from his work, so he borrowed from American sources. Many of his films bear evidence of extensive exposure to film noir and American Westerns, and several of his plots are borrowed from American and Western sources. One example: much has been made of the fact that A FISTFUL OF DOLLARS was based on Kurosawa's YOJIMBO, but it is not as often noted that YOJIMBO was based on Dashiell Hammett's RED HARVEST, in which the Continental Op goes to the town of Personville (or, as a Brooklyn-accented character in the book pronounces it, Poisonville) and turns two warring criminal factions against each other.
But if you haven't seen this film, do so. Without any question one of Kurosawa's very finest films.

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A general and a princess must dodge enemy clans while smuggling the royal treasure out of hostile territory with two bumbling, conniving peasants at their sides; it's a spirited adventure that only Akira Kurosawa could create. Acknowledged as a primary influence on George Lucas' Star Wars, The Hidden Fortress delivers Kurosawa's inimitably deft blend of wry humor, breathtaking action and humanist compassion on an epic scale. The Criterion Collection is proud to present this landmark motion picture in a stunning, newly-restored Tohoscope edition.

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The Garden of the Finzi Continis (1971) Review

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(More customer reviews)In "The Garden of the Finzi-Continis" (1970)--based on the autobiographical novel by Giorgio Bassani--legendary Neorealist filmmaker, Vittorio de Sica, dramatizes the human cost of the "racial laws" gradually implemented against the Jews in Fascist Italy during the years 1938-43. The more Bassani's young middle-class Jewish protagonist feels the brunt of Mussolini's anti-Semitic edicts encroaching upon him, the more he feels drawn to the aristocratic Jewish Finzi-Continis' estate--their Edenic "garden"--and to Micòl, the family's beautiful young daughter. Psychologically, this compulsion seems to stem from a deep emotional attachment to a perpetually innocent, untroubled state of childhood, which both Micòl and her garden seem to represent. Throughout the film, there is a marked conflict between childhood and adulthood, between the distant past and the immediate present, between the act of retreating into a world of comfortable illusions and confronting a world of harsh and bitter realities.
I found this particular aspect of the story very fascinating, although too tantalizingly obscure and open-ended--and thus, not quite as illuminating or fulfilling as it might have been were it more clearly explained. (This could the reason why some people find the film--and its heavily symbolic, impressionistic style--a little confusing and underwhelming.)
For Giorgio--both the naive hero and wisened author of the story--Micòl embodies the mystery and allure of the Finzi-Continis, as well as their insularity and their apparent passivity in the face of the escalating Fascist crackdown. She always appears distant and unattainable, with no obvious reasons for her actions, and never really provides a direct, comprehensible explanation for her insistent rejection of Giorgio or for what appears to be a subtle streak of cruelty towards him. Her conversation with him always seems deliberately vague, and her refusal to make any further connection with him has a curious, almost perverse kind of fatalism about it.
Again, this is another feature of the film that is certainly intriguing--and strangely seductive-- but, alas, never quite pays off enough to become fully understandable to either the protagonist or the audience.
When the Fascists finally do arrest the Finzi-Continis and confiscate their estate it comes as something of a surprise. The muted and deliberately spare representation of these characters and their feelings, as evidenced in their unusually restrained behavior, is meant to isolate and heighten the impact of a few devastating strokes of sudden realization and lucidity--pointed indications that the protective spell of the Finzi-Continis has been finally broken.
All in all, well-acted and gorgeously, languidly poetic in its imagery...yet, narrative-wise, the picture seems overly elliptical and ultimately opaque--and leaves just a few too many rough fragments and loose ends lingering at the end of the story (not quite Proustian irony, maybe?). In spite of this peculiar drawback, the film finishes very effectively, and by the final desolate shots, you are left with an unexpectedly intense feeling of loss and anguish.
"The Garden of the Finzi-Continis" is a very unusual and interesting (and thankfully, non-sentimental and non-self-important) addition to the ever-expanding canon of dramatic films about life in the shadow of the Holocaust.
Good show. I give this one four out of five stars.

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Ivan the Terrible - Pt. 2 (1959) Review

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(More customer reviews)Right off the bat, it needs to be said that this is the older DVD version, not the new remastered Criterion Collection version. There are no extras in this DVD version by Image. The subtitles are black and white, and are difficult to read against the black-and-white film sequences. The excellent score by Prokofiev is tinny. The soundtrack was recorded in PCM, essentially a WAV file, which will not play on many older DVD players. The transition between the black and white sequences and the color sequences is not as smooth as it could be. The difference between the Image version and the Criterion version is one of quality and content, and price. The Criterion version comes as part of a boxed set, which is pricey if you already own Alexander Nevsky and/or Ivan Part I. If you don't already own Alexander Nevsky and/or Ivan I, the Criterion version is the way to go. If you do own it, then you have to decide whether to purchase the Image version and spend less money, or to replicate part of your film library with the 3 disk set from Criterion.
As to the virtues of this Eisenstein compared to other Eisenstein films or all other films, the pacing will be too slow and the posed acting will be too melodramatic for most American audiences raised on modern action flicks. Film lovers will get more out of it, however, because most of them will have the background to appreciate the preservation of the silent film acting style with all its posing, stance, pregnant pauses and charactured good guy/bad guy visual "leitmotifs." The historical background of the film will be missed by your average modern western audience, who would probably fail to sort the propagandizing of Soviet filmmaking from the dramatic touches and historical details. Overall, this is worthy film to watch because of its historical value, insight into the Soviet "social realism" school, hand-in-glove Prokofiev score and brilliant cinematography. The set-up for the final murder and the murder scene itself are great cinema, achieving the pacing and suspense that seem lacking in the first half of the film. Even though you know what is going to happen, the resolution is still satisfying and surprising. If anything, see this film for that. My three stars are really to rate this DVD version because of its tinny and grainy quality and hard-to-read subtitles. Better to spend you money to get the Criterion boxed set instead, even if you do end up replicating one or more Eisenstein's which you may already own.

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IVAN THE TERRIBLE PART 2 - DVD Movie

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Before the Rain - (The Criterion Collection) (1994) Review

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(More customer reviews)I never grow tired of watching BEFORE THE RAIN. It is, first, a stunningly beautiful piece of cinematography. The camera pans natural vistas, churches, London streets, and the faces of the interlocking characters with sensitivity, wisdom, and love. The three parts of the film mesh with perfect paradox, underscoring the recurring theme that time is not a circle. We see the young, the old, the weak, the strong, the living, and the dead all intermingling with an incoherent rap song which blasts from speakers the world over. The pacing is ideal; the plot is ingenious; the message is eternal. BEFORE THE RAIN should be reissued on videocassette and offered on DVD. It moves me as much as any film I've ever seen. Even American high-school students are captivated by it, and that in itself in a small miracle!

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The first film made in the newly independent Republic of Macedonia, Milcho Manchevski’s Before the Rain crosscuts the stories of an orthodox Christian monk (Grégoire Colin), a British photo agent (Katrin Cartlidge), and a native Macedonian war photographer (Rade Šerbedžija) to paint a portrait of simmering, entrenched ethnic and religious hatred about to reach its boiling point. Made during the strife of the war-torn Balkan states in the nineties, this gripping triptych of love and violence is also a timeless evocation of the loss of pastoral innocence, and remains one of recent cinema’s most poetic evocations of the futility of war. DIRECTOR-APPROVED SPECIAL EDITION FEATURES: • New, restored high-definition digital transfer, supervised and approved by director Milcho Manchevski • Audio commentary featuring Manchevski and film scholar Annette Insdorf • New video interview with actor Rade Šerbedžija • Manchevski's award-winning music video for Arrested Development's "Tennessee" • Stills galleries of Manchevski's photographs and on-set shots • Theatrical trailer • New and improved English subtitle translation • PLUS: A new essay by film scholar Ian Christie • More!

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