After unveiling the discs that will be arriving in April, including Bong Joon Ho’s Memories of Murder, Olivier Assayas’ Irma Vep, and more, Criterion has now announced what will be coming to their streaming channel next month.
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
- 1/26/2021
- by Leonard Pearce
- The Film Stage
The Criterion Collection will be heralding in 2021 with a mix of new and old. First up, Bing Liu’s stellar documentary Minding the Gap will be joining the collection, as will another documentary, Martin Scorsese’s playful Rolling Thunder Revue. Also arriving is a three-film Luis Buñuel box set focusing on his late career, featuring The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire. Larisa Shepitko’s final, harrowing feature The Ascent will also be getting a release.
Check out the cover art and special features below, and see more on Criterion’s website.
New high-definition digital master, approved by director Bing Liu, with 5.1 surround DTS-hd Master Audio soundtrack on the Blu-rayNew audio commentary featuring Liu and documentary subjects Keire Johnson and Zack MulliganNew follow-up conversation between Liu and documentary subject Nina BowgrenNew programs featuring interviews with professional skateboarder Tony Hawk and with Liu,...
Check out the cover art and special features below, and see more on Criterion’s website.
New high-definition digital master, approved by director Bing Liu, with 5.1 surround DTS-hd Master Audio soundtrack on the Blu-rayNew audio commentary featuring Liu and documentary subjects Keire Johnson and Zack MulliganNew follow-up conversation between Liu and documentary subject Nina BowgrenNew programs featuring interviews with professional skateboarder Tony Hawk and with Liu,...
- 10/16/2020
- by Jordan Raup
- The Film Stage
In the late 1970s, an associate professor in the Philosophy department at Johns Hopkins (thesis title: "The Nature of the Natural Numbers") began publishing essays on Hollywood movies. George M. Wilson wasn't the first person to undergo this shift in specialism. At the start of the decade, Stanley Cavell had published The World Viewed, a series of "reflections on the ontology of film." But Cavell had always been concerned with how works of art enable us to think through philosophical themes such as knowledge and meaning, and he held a chair, at Harvard, in Aesthetics. Wilson differed in that he brought a range of analytic gifts to an ongoing revolution: the close reading of American cinema, conceived as part of the "auteur" policy of Truffaut and other writers at Cahiers du cinéma in the 1950s, and concertedly developed in the following decades by critics in England such as V. F.
- 12/11/2017
- MUBI
Take one fiercely individual auteur fed up with the Hollywood game, put him in Kyoto with a full Japanese film company, and the result is a picture critics have been trying to figure out ever since. It’s a realistic story told in a highly artificial visual style, in un-subtitled Japanese. And its writer-director intended it to play for American audiences.
The Saga of Anatahan
Blu-ray
Kino Lorber
1953 / B&W / 1:37 flat Academy / 91 min. / Anatahan, Ana-ta-han / Street Date April 25, 2017 / available through Kino Lorber / 29.95 Starring: Akemi Negishi, Tadashi Suganuma, Kisaburo Sawamura, Shoji Nakayama, Jun Fujikawa, Hiroshi Kondo, Shozo Miyashita, Tsuruemon Bando, Kikuji Onoe, Rokuriro Kineya, Daijiro Tamura, Chizuru Kitagawa, Takeshi Suzuki, Shiro Amikura.
Cinematography: Josef von Sternberg, Kozo Okazaki
Film Editor: Mitsuzo Miyata
Original Music: Akira Ifukube
Special Effects: Eiji Tsuburaya
Written by Josef von Sternberg from the novel by Michiro Maruyama & Younghill Kang
Produced by Kazuo Takimura
Directed by Josef von Sternberg...
The Saga of Anatahan
Blu-ray
Kino Lorber
1953 / B&W / 1:37 flat Academy / 91 min. / Anatahan, Ana-ta-han / Street Date April 25, 2017 / available through Kino Lorber / 29.95 Starring: Akemi Negishi, Tadashi Suganuma, Kisaburo Sawamura, Shoji Nakayama, Jun Fujikawa, Hiroshi Kondo, Shozo Miyashita, Tsuruemon Bando, Kikuji Onoe, Rokuriro Kineya, Daijiro Tamura, Chizuru Kitagawa, Takeshi Suzuki, Shiro Amikura.
Cinematography: Josef von Sternberg, Kozo Okazaki
Film Editor: Mitsuzo Miyata
Original Music: Akira Ifukube
Special Effects: Eiji Tsuburaya
Written by Josef von Sternberg from the novel by Michiro Maruyama & Younghill Kang
Produced by Kazuo Takimura
Directed by Josef von Sternberg...
- 4/11/2017
- by Glenn Erickson
- Trailers from Hell
One of the most unusual, and unusually moving swansongs in cinema history, Josef Von Sternberg’s Anatahan (a.k.a. The Saga of Anatahan) returns to American screens this spring in a new restoration which seems destined not to only buff up the movie’s obvious visual splendor but also its standing as an essential and fully engaged work of a master Hollywood stylist rather than simply a curious end post to a remarkable career.
In the early ‘50s Sternberg was coming off two movies made for Howard Hughes—the gorgeously sublimated cold-war adventure Jet Pilot (finished in 1950 but cut extensively by Hughes and held up for release until 1957) and Macao (1952), on which Sternberg and Hughes clashed again, resulting in the director’s replacement by Nicholas Ray. Disillusioned by Hollywood, Sternberg, a long-time devotee of Japanese culture, capitalized on his separation from Hughes and began investigating the possibility, one he...
In the early ‘50s Sternberg was coming off two movies made for Howard Hughes—the gorgeously sublimated cold-war adventure Jet Pilot (finished in 1950 but cut extensively by Hughes and held up for release until 1957) and Macao (1952), on which Sternberg and Hughes clashed again, resulting in the director’s replacement by Nicholas Ray. Disillusioned by Hollywood, Sternberg, a long-time devotee of Japanese culture, capitalized on his separation from Hughes and began investigating the possibility, one he...
- 2/18/2017
- by Dennis Cozzalio
- Trailers from Hell
Island of Lost Souls: Von Sternberg’s Lost Post-Colonial Swan Song Resurrected
Best remembered for his indelible string of films starring Marlene Dietrich in the early 1930s, from their iconic 1930 breakthrough The Blue Angel to the string of English language films which ended in their sixth title, 1935’s The Devil is a Woman, Austrian import Josef Von Sternberg’s tortured filmography following the dissolution of his relationship with his muse are all items which have, for the most part, fallen into obscurity.
Continue reading...
Best remembered for his indelible string of films starring Marlene Dietrich in the early 1930s, from their iconic 1930 breakthrough The Blue Angel to the string of English language films which ended in their sixth title, 1935’s The Devil is a Woman, Austrian import Josef Von Sternberg’s tortured filmography following the dissolution of his relationship with his muse are all items which have, for the most part, fallen into obscurity.
Continue reading...
- 2/5/2017
- by Nicholas Bell
- IONCINEMA.com
Kino Lorber is issuing a new 2K restoration of Josef von Sternberg’s final film “Anatahan“ in theaters next month. Von Sternberg was a prominent figure in the late silent-movie era of the ’20s and transitioned easily to sound pictures. In his 1930 film, “The Blue Angel,” he introduced Marlene Dietrich to the world; they would collaborate together on six more pictures, including “Morocco” (1930), “Blonde Venus” (1932) and “The Devil Is A Woman” (1935).
Continue reading The War Isn’t Over In Trailer For Josef von Sternberg’s Newly Restored ‘Anatahan’ at The Playlist.
Continue reading The War Isn’t Over In Trailer For Josef von Sternberg’s Newly Restored ‘Anatahan’ at The Playlist.
- 1/25/2017
- by Christian Gallichio
- The Playlist
The icon-establishing performances Marilyn Monroe gave in Howard Hawks’ Gentlemen Prefer Blondes (1953) and in Billy Wilder’s Some Like It Hot (1959) are ones for the ages, touchstone works that endure because of the undeniable comic energy and desperation that sparked them from within even as the ravenous public became ever more enraptured by the surface of Monroe’s seductive image of beauty and glamour. Several generations now probably know her only from these films, or perhaps 1955’s The Seven-Year Itch, a more famous probably for the skirt-swirling pose it generated than anything in the movie itself, one of director Wilder’s sourest pictures, or her final completed film, The Misfits (1961), directed by John Huston, written by Arthur Miller and costarring Clark Gable and Montgomery Clift.
But in Don’t Bother to Knock (1952) she delivers a powerful dramatic performance as Nell, a psychologically devastated, delusional, perhaps psychotic young woman apparently on...
But in Don’t Bother to Knock (1952) she delivers a powerful dramatic performance as Nell, a psychologically devastated, delusional, perhaps psychotic young woman apparently on...
- 4/11/2016
- by Dennis Cozzalio
- Trailers from Hell
Director Carl Franklin followed the success of 1992’s break-out thriller One False Move with his most notable work to date, Devil in a Blue Dress (1995), a Los Angeles neo noir recuperating post-war racial tensions within the confines of the divisive city, filtered through a glop of familiar genre motifs and superb command of tone and mood. Starring Denzel Washington and based on a novel by Walter Mosley, the box office failings of the film curbed additional adaptations of the author’s work featuring reluctant private eye Easy Rawlins. Twenty years after its premiere, the film has maintained an unprecedented level of critical acclaim assisting its sterling reputation. As far as noir goes, we’ve seen this sort of narrative before, a beautiful woman with particularly damning information and labyrinthine connections involved in a dangerous mixture of sex and politics, but never from the perspective of a black private eye in a viciously segregated America.
- 11/17/2015
- by Nicholas Bell
- IONCINEMA.com
The Austin Film Society has teamed up with Dan Halstead of Portland's Kung Fu Theater to host the 2nd annual "Old School Kung Fu Weekend" at the Marchesa. Three films will screen tonight and three more tomorrow, all directly from rare 35mm prints. The lineup is top secret and most of the movies have never before played in town. Passes are available for the entire series or individual tickets will be sold at the door, capacity permitting.
The Afs Screening Room hosts an Avant Cinema screening on Wednesday night of the 1947 film Dreams That Money Can Buy, created by avant-garde masters Hans Richter, Marcel Duchamp, Man Ray, Max Ernst, Fernand Leger, Alexander Calder and John Cage. Thursday night's Essential Cinema selection is Abel Gance's J'Accuse. Presented in a Dcp of a recent restoration, this 1919 silent classic presents a love triangle between a soldier, his wife and her lover during World War I.
The Afs Screening Room hosts an Avant Cinema screening on Wednesday night of the 1947 film Dreams That Money Can Buy, created by avant-garde masters Hans Richter, Marcel Duchamp, Man Ray, Max Ernst, Fernand Leger, Alexander Calder and John Cage. Thursday night's Essential Cinema selection is Abel Gance's J'Accuse. Presented in a Dcp of a recent restoration, this 1919 silent classic presents a love triangle between a soldier, his wife and her lover during World War I.
- 6/20/2014
- by Matt Shiverdecker
- Slackerwood
(Luis Buñuel, 1977, Studio Canal, 15)
In his final movie the 77-year-old Luis Buñuel is at his most puckishly anarchic and insouciantly surreal with an updated version of an early 20th-century novel by Pierre Louÿs, filmed four times previously, most famously in 1935 by Von Sternberg and Dietrich as The Devil is a Woman. Co-scripted by his regular writer, Jean-Claude Carrière, it stars the great Spanish actor Fernando Rey as Mathieu, a pathetic, rich philanderer regaling his fellow railway passengers with the story of being led up the garden path of a poisoned Eden by an alluringly unattainable young woman. She's played by two women – Carole Bouquet representing her cool northern side, Ángela Molina her hot, earthy, Mediterranean aspect – and it's part of the old master's skill that we rapidly accept the capricious duo as a single person.
Meanwhile the besotted Mathieu is oblivious to the terrorist outrages masterminded by the "Revolutionary Army...
In his final movie the 77-year-old Luis Buñuel is at his most puckishly anarchic and insouciantly surreal with an updated version of an early 20th-century novel by Pierre Louÿs, filmed four times previously, most famously in 1935 by Von Sternberg and Dietrich as The Devil is a Woman. Co-scripted by his regular writer, Jean-Claude Carrière, it stars the great Spanish actor Fernando Rey as Mathieu, a pathetic, rich philanderer regaling his fellow railway passengers with the story of being led up the garden path of a poisoned Eden by an alluringly unattainable young woman. She's played by two women – Carole Bouquet representing her cool northern side, Ángela Molina her hot, earthy, Mediterranean aspect – and it's part of the old master's skill that we rapidly accept the capricious duo as a single person.
Meanwhile the besotted Mathieu is oblivious to the terrorist outrages masterminded by the "Revolutionary Army...
- 9/15/2012
- by Philip French
- The Guardian - Film News
Marlene Dietrich on TCM Pt.2: A Foreign Affair, The Blue Angel Schedule (Et) and synopses from the TCM website: 6:00 Am The Monte Carlo Story (1957) Two compulsive gamblers fall in love on the French Riviera. Dir: Samuel A. Taylor. Cast: Marlene Dietrich, Vittorio De Sica, Arthur O'Connell. C-101 mins, Letterbox Format. 7:45 Am Knight Without Armour (1937) A British spy tries to get a countess out of the new Soviet Union. Dir: Jacques Feyder. Cast: Marlene Dietrich, Robert Donat, Irene Van Brugh. Bw-107 mins. 9:45 Am The Lady Is Willing (1942) A Broadway star has to find a husband so she can adopt an abandoned child. Dir: Mitchell Leisen. Cast: Marlene Dietrich, Fred MacMurray, Aline MacMahon. Bw-91 mins. 11:30 Am Kismet (1944) In the classic Arabian Nights tale king of the beggars enters high society to help his daughter marry a handsome prince. Dir: William Dieterle. Cast: Ronald Colman, Marlene Dietrich, James Craig.
- 9/1/2011
- by Andre Soares
- Alt Film Guide
Marlene Dietrich on TCM: Shanghai Express, The Scarlet Empress, The Devil Is A Woman Raoul Walsh's unpretentious Manpower (1941) is a surprisingly entertaining drama about a love triangle featuring good-time gal Marlene Dietrich and unlikely partners Edward G. Robinson and George Raft. As an ex-Nazi chanteuse/black marketer (photo), Dietrich nearly steals the show in Billy Wilder's post-war Berlin-set A Foreign Affair (1948); I say nearly because Jean Arthur is Dietrich's equal as the goody-goody American congresswoman who learns that goody-goodiness may take you far at work (at least in the movies) but not in life. In the hands of someone like Ernst Lubitsch, A Foreign Affair would have been a humorously romantic masterpiece, cleverly and subtly interweaving the personal, the social, and the political. As it is, the comedy works great whenever Arthur and Dietrich are on-screen; else, A Foreign Affair suffers from Wilder's heavy hand; lapses in judgment in Wilder,...
- 9/1/2011
- by Andre Soares
- Alt Film Guide
Marlene Dietrich is Turner Classic Movies last "Summer Under the Stars" star of 2011. Today, TCM is showing 12 Marlene Dietrich movies, in addition to J. David Riva's 2001 documentary Marlene Dietrich: Her Own Song. Riva, I should add, is the son of Maria Riva and Dietrich's grandson. [Marlene Dietrich Movie Schedule.] Unfortunately, TCM isn't presenting any Marlene Dietrich movie premieres today. In other words, no Dietrich opposite David Bowie in Just a Gigolo, or Dietrich next to Jean Gabin in Martin Roumagnac / The Room Upstairs, or any of Dietrich's little-known German-made silents, e.g., Ich küsse Ihre Hand, Madame / I Kiss Your Hand, Madame; Das Schiff der verlorenen Menschen / The Ship of Lost Men; and Gefahren der Brautzeit / Dangers of the Engagement. None of the silents are exactly what I'd call good movies — nor is Just a Gigolo — but they all are worth a look if only because Dietrich is in them. Another option for...
- 9/1/2011
- by Andre Soares
- Alt Film Guide
Certainly there are lots of books which have been filmed far more times than Pierre Louÿs' The Woman and the Puppet, but his book has the distinction of having formed the basis for four widely varying masterpieces, or so I'd argue.
The book, in which a poor factory girl drives a middle-aged nobleman to sexual distraction by incessantly leading him on, then spurning him, became Buñuel's final film, That Obscure Object of Desire (1977). Famously, Don Luis cast two actresses in the role of the schizoid heroine, but declined to follow standard logic by having one play consistently hot, the other cold.
Only slightly less celebrated is Josef von Sternberg's last Dietrich vehicle, The Devil is a Woman (1935), flaunting the Production Code by having Dietrich tease two men to the point of murder, and blithely get away with it. Her victims are Lionel Atwill and Cesar Romero (real-life...
The book, in which a poor factory girl drives a middle-aged nobleman to sexual distraction by incessantly leading him on, then spurning him, became Buñuel's final film, That Obscure Object of Desire (1977). Famously, Don Luis cast two actresses in the role of the schizoid heroine, but declined to follow standard logic by having one play consistently hot, the other cold.
Only slightly less celebrated is Josef von Sternberg's last Dietrich vehicle, The Devil is a Woman (1935), flaunting the Production Code by having Dietrich tease two men to the point of murder, and blithely get away with it. Her victims are Lionel Atwill and Cesar Romero (real-life...
- 8/18/2011
- MUBI
The Academy Awards are so obviously pointless that it’s much more clichéd these days to describe them as a masturbatory gala of self-congratulation than defend them with any seriousness. Well, of course they’re an onanistic exercise: imagine General Mills, Post and Kellogg’s holding a televised breakfast cereal of the year award. Yes, Hollywood movies are sometimes art, but they’re cultural product first and foremost, and, along with television and music, they make up America’s largest export industry.
So doubly irrelevant, you might continue, is the award of “Best Picture.” But you’d be wrong. True, the list of Best Picture winners hardly matches the list of the best Hollywood films, and, especially recently, contains a lot of out and out stinkers (Crash, anyone?) But they show what the industry considered, in any given year, its most serious and important work. It’s an intra-democratic process of self-criticism,...
So doubly irrelevant, you might continue, is the award of “Best Picture.” But you’d be wrong. True, the list of Best Picture winners hardly matches the list of the best Hollywood films, and, especially recently, contains a lot of out and out stinkers (Crash, anyone?) But they show what the industry considered, in any given year, its most serious and important work. It’s an intra-democratic process of self-criticism,...
- 11/19/2010
- by Willie Osterweil
- JustPressPlay.net
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