Lost in Criterion

A clearly disturbed and vile president rants about the conspiracies against him while contemplating suicide, and somehow is so full of pathos that we find ourselves feeling pity instead of anger. There are...modern parallels? Robert Altman's Secret Honor's exploration of Nixon's psyche is a class of its own, due mostly to Philip Baker Hall's masterful performance. Still it does remind us of certai...

We properly finish the Five Films box set with Charles Kiselyak's 2000 video eulogy to John Cassavettes. A Constant Forge finds Cassevettes' friends and creative squad telling anecdotes about the man and his process. The biggest lesson: we've been pronouncing Gena Rowlands' name wrong for the past month.

Gena Rowlands is on an absolute tour de force in this final film in the John Cassavetes: Five Films boxset. Well, technically there's a six we'll talk about next week, but you know. Opening Night (1977) is a psychological drama about a middle-aged actress having a nervous breakdown as she prepares for a show, and it borders on being a horror film the way it is shot and soundtracked.

Two films for the price of one this week as we watch the original 135 minute version of John Cassavetes' The Killing of a Chinese Bookie from 1976 and then his director's cut which runs 108 minutes from 1978. Of course, since this is Cassavetes, the shorter version isn't just a truncated version but a rather different film in design, in character motivation, and quite a bit of plot. Right from the...

There are ways in which A Woman Under the Influence is the most "Hollywood" of the John Cassavetes films we've seen so far. It's got structure! But in other very deep ways it is absolutely the furthest from anything Hollywood would ever put out -- "No one wants to see a crazy, middle-aged dame." It's quite possibly the most emotionally intense film we've ever seen.

Another John Cassavetes film that feels more like an acting exercise than a traditional film. Not that there's anything wrong with that. Like last week's film Shadows, Faces feels improvised (and grew out of improvisation exercises) and it feels all the more real for its looseness.

We kick off a box set of Five Films by John Cassavetes this week with his first feature Shadows (1959). It was a bit of a rough start for the prolific indie auteur who recut the film after a disastrous premiere before leaving the original cut in a subway car. What remains is a fascinatingly realistic look at New Yorkers in the late 50's.

In 2003 the US Department of Defense held a screening of Gillo Pontocorvo's 1966 film The Battle of Algiers at the Pentagon. A flyer for the screening read: How to win a battle against terrorism and lose the war of ideas. Children shoot soldiers at point-blank range. Women plant bombs in cafes. Soon the entire Arab population builds to a mad fervor. Sound familiar? The French have a plan. It succe...

There's an early iTunes review of Lost in Criterion that states that Pat says "weird" a distractingly large number of times for lack of a better way to describe things. This week the two of use do the same thing but with the word "orifice". If there is any director who comes to mind with the word "orifice" it's definitely David Cronenberg, and in 1983 he was at his most-orifice-y with Videodrome,...

Richard Linklater's Slacker kicked off the American indie scene of the 90's for better or worse (Kevin Smith cites the film as inspiration for making Clerks). Criterion dates the release as 1991 which is when it won at Sundance, though it floated around for at least a year before that, premiering in Austin in June of 1990 and having principally been shot in 1989. There's a lot here that under othe...

The Criterion website describes Federico Fellini's I Vitelloni as "semi-autobiographical" which is a valid description of any Fellini film. The man couldn't make a movie that wasn't ultimately about himself. I suppose upon its release in 1953, with only two other films under his belt, it is perhaps the most autobiographical Fellini has been thus far, but both earlier films clearly have elements of...

Marcel Carne's Port of Shadows, released in 1938, is the one of the earliest films to have the term "film noir" applied to it. It also stars our favorite face of French Poetic Realism Jean Gabin. This is our second outing with Carne after his 1945 epic Children of Paradise. There is significantly less mime in this one.

So producer Louis Wipf says to Jean Renoir, "Hey, Jean Renoir, you wanna make a movie with Ingrid Bergman?" And Jean Renoir says, "Boy do I!" Then he sat around for a bit and tried out a few ideas that either he or Wipf or Bergman didn't really like before settling on a fictionalized version of the life of General Georges Boulanger, though not fictionalized enough that Bergman was playing the gene...

We continue the Stage and Spectacle boxset with 1954's French Cancan wherein Jean Renoir explores the founding of the Moulin Rouge with about as much fidelity to history as Baz Luhrmann. But more interesting than the pseudo-history is the visual panache, with frequent frame references to the works of Renoir's father and his fellow impressionists. Visually stunning to say the least. And perhaps the...

Now we jump 13 years into Renoir's future from the last film of his we saw (The Lower Depths) and find him working in color and out from under the pressures of an impending war (and a bit of an exile to Hollywood) for a trilogy of films dancing around themes of theater and female-empowerment. Well, kind of. First off from Stage and Spectacle: Three Films by Jean Renoir is 1953's The Golden Coach a...

We're slowly working our way backwards through Ozu's Noriko trilogy and it's amazing.

Two movies for the price of one with this week's outing. In 1902 Maxim Gorky debuted his play The Lower Depths about a group of people living in a flophouse in Russia. It was an international hit of a character study, leading to localizations around the world. In 1957 Akira Kurosawa made a version that was fairly faithful to the source material except transported to 19th century Japan. In 1936 Jea...

Godard's ode to Lubitsch isn'y quite as eye-rolly as the title suggests.

Many of Ingmar Bergman's films could be called comedies in the existential cosmic absurdism sense, but Smiles of a Summer Night (1955) is a romantic comedy sex romp with shades of Oscar Wilde. It was Bergman's big break. He'd been making films for over a decade with nothing landing with an audience. He was at his wits end, even thought he was dying, and desperately needed a win. Which he definitel...

It was only a matter of time before we had to watch another Pier Paolo Pasolini film. And after that first one, so many years ago, we were not looking forward to it. But no movie could be another Salo, though I'm sure some have tried. Mamma Roma is, in a way, a proto-Salo, though. It is a critique of Italian identity and power structures that while comparatively mild I can imagine that between its...

"We were the leopards, the lions, those who take our place will be jackals, hyenas and the whole lot of us - leopards, lions, jackals and sheep - will continue to think ourselves the salt of the earth."

Yesterday was Hitler's birthday, so here's a film with a complicated relationship to Nazis? On the one hand Volker Schlondorff's The Tin Drum (1979) does show some of the horrors of living under Nazi occupation in Gdańsk-- I've just now learned that Danzig is the German name for the city, and it seems inappropriate to use it here, Gdansk is the Polish name  -- and it briefly embodies the aftermath...

Toshiro Mifune and Takashi Shimura are two of the greatest actors of the 20th century. It happens that they also frequently collaborated with one another and with some of the greatest film directors to come out of mid-century Japan. As such, it seems they may be the actors who most often appear in the Criterion Collection as well, though it's hard to track that information without it becoming a wh...

We return to the Yasujiro Ozu well with a double feature, or as Pat corrects me, a one and a half feature. Ozu made the silent black-and-white A Story of Floating Leaves in 1934 then during a break in his production schedule after finishing Good Morning early in 1959 he remade it as Floating Leaves in color and with sound. Fascinating to see a great artist approach the same basic material a quarte...

There are only three Fritz Lang films in the Collection -- discounting his delightful appearance as himself in Godard's Contempt -- and these appearances are fairly spread out. We last saw from him with Spine 30 and will next see him at Spine 649. But for now we have Spine 231, his 1933 follow up and sort of sequel to M (as Otto Wernicke plays the same detective in both): The Testament of Dr. Mabu...