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This is a freebie in the UK's Sunday Telegraph today - no extras or chapter stops, but it's been licenced from Janus Films and properly transferred to PAL progressively from Criterion's restored high-def master. It looks wonderful, and if you can stomach buying the Torygraph it's well worth it.

(It's a bit late now, but they did Pygmalion yesterday, with the same excellent PAL conversion from Criterion's master - I only found out at 9:45pm and got the last one from my cornershop.)

That's a thoughtful piece of generosity, as now many people will see one of the great performances in British Cinema, which has been hard to see for many years here.

I read on another forum that a UK edition is due next year. It is strange that upcoming releases (The Go-Between was another) are being given away for free.

Gordon wrote:It is strange that upcoming releases (The Go-Between was another) are being given away for free.

Sadly, it's not at all strange - in my experience, the first the people who are preparing a new edition hear of freebie deals like this is when they see them advertised on the front of the paper in their local newsagent.

What usually happens behind the scenes is that the paper's marketing department contacts the distributor's marketing department, the deal is concluded very quickly, and unless the distributor's marketing department is particularly conscientious (anyone who's worked in this business can feel free to emit a hollow laugh at this point) or the company is so small that everyone in it is bound to find out whatever happens, that's pretty much all the consultation that goes on.

And while I'm not aware of the ins and outs of this particular case, I do know of situations in the past where people with serious commercial interests in the film in question have gone absolutely ballistic over such freebie deals - but when it's far too late to do anything about them.

MichaelB wrote:And while I'm not aware of the ins and outs of this particular case, I do know of situations in the past where people with serious commercial interests in the film in question have gone absolutely ballistic over such freebie deals - but when it's far too late to do anything about them.

Does it affect prospects of a commercial DVD release, or at least push back plans to release a disc if it has been given away with a newspaper recently?

Such "freebie" deals can provide a massive cash injection to the distributor, and as the "freebie" is only available for a very short window of time, it doesn't hurt sales in the longrun, in fact it acts as an advert for a special edition further down the line.

I know of a number of instances where sales of a 2-disc special edition noticeably increase for a title that has been "freebied" the previous month.

It really depends on whether there's been sufficient communication between all the interested parties before the deal is signed - clearly, in your case, everyone was happy to go along with it.

(which reminds me, I still haven't watched my freebie disc of Francis, God's Jester...)

If I remember rightly, though, Alex Cox was none too impressed when Total DVD magazine gave away his Straight to Hell about three years ago - because nobody warned him this was going to happen and, as we now know, the discs were being prepped for reissue by a different distributor.

MichaelB wrote:If I remember rightly, though, Alex Cox was none too impressed when Total DVD magazine gave away his Straight to Hell about three years ago - because nobody warned him this was going to happen and, as we now know, the discs were being prepped for reissue by a different distributor.

Oh, I've got that disc I wondered why a freebie disc also included the commentary, music video and documentary.

If it is any consolation I bought it when it was released by BFI as the new distributor in the double bill disc with Death and the Compass.

I know Anchor Bay UK were livid (to the point of considering legal action) when, earlier this year, How To Get Ahead in Advertising was given away with the Sunday Times mere weeks before their retail edition was set to hit shelves.

Here's the story, though it's essentially just a statement by Anchor Bay, which reads:

The proposed March 12, 2006 cover mount of the film How to Get Ahead in Advertising is the result of an agreement in which Anchor Bay Entertainment had no part. Anchor Bay views this as a direct violation of its contractual rights and is in the process of analyzing its legal options. The company intends to take the necessary steps to protect its rights.

Sorry? Sorry for The Crock?!

This is one of the best films I've ever seen! It's an amazing feeling when you watch a film that could have easily been ignored for your whole life, but you gave a try on a whim, and find that you wouldn't want to live without it.

The Criterion Collection likely had a difficult time packaging this film, and writing a synopsis that would sell copies to skeptical DVD buyers. A 1950s British film about a cold teacher who is suffering from failing health and a doomed marriage isn't exactly an easy product to hawk on store shelves. But one viewing of this film (rented this one) has made me want to run out and buy it (if it were available at any B&M stores within 30 miles, that is). Michael Redgrave's performance hits all the right notes, his grumpy, unforgiving teacher that we're first introduced to never falls into tired stereotypes or overacting. From this believable personality, we're then thrown into the complications of his psyche, and we begin to like the character unconditionally far sooner than we'd expect. Outside of Mrs. Crocker-Harris, the viewer manages to like the characters they're presented with, despite the fact that they all (outside of Taplow) causing some sort of psychological harm to our unlikely protagonist. I've never been so surprised by the way a film of this sort has unfolded, one does not expect to see such fragility and frankness out of a man like Crocker-Harris, and by the time of his final proclamation, I hung on every word that came out of his mouth.

The script is the linguistic equivalent of dark chocolate. At first, it tastes too bitter - but over time, the rich depth of flavor reveals itself to an almost overwhelming extent. Instead of simply stating that he was embarrassed to have been witnessed weeping by a student who's just given him a gift, Crocker-Harris instead states, "Dear me... what a fool I must have made of myself in front of that boy... and in front of you, too, Hunter... I don't know what you must think of me. I'm not a very emotional person, bu there's something so unexpected and touching about his action, coming as it did so soon after... this is a very delightful thing to have, don't you think?" Out of most actor's mouths, this exposition would create yawns and eye-rolls all the way down the aisles. But from Redgrave, in the context of the film, one has become accustomed to hearing characters (particularly Crocker-Harris) speak this way, and it fits the scene like a glove.

I adored every minute of this film.

On another note, did anyone notice the tone of Eder's voice when he laid a verbal smackdown on Powell, Lean, and Reed in the commentary? He really seemed to be enjoying his defense of Asquith, as if Asquith was standing behind him having rocks thrown at him. Quite amusing to say the least.

If you haven't seen this yet, add it to your Netflix queue. But prepare yourself for an overwhelming urge to plunk down 20 bucks on your own copy when you're finished watching.

Very well put, mfunk.
After watching this one, for several days I felt no interest in watching any other film, and I usually see at least one film per day. I find it hard to explain even to myself, and even more so to express in writing (and english isn't my first language) why certain films leave such a deep emotional impression on you, but this one certainly did that for me.

I agree that this is an extremely moving film. All the more impressive considering there's not a single note of music in the whole thing (not including the credits of course.) A perfect adaptation of a perfect play. I'm morbidly curious about what the remake's like, but being as there's no where to go but down, I still can't bring myself to watch it.

Any chance there are any schoolteachers on the forum? If so, I'm curious as to their thoughts on "The Browning Version." Apologies in advance if this is a silly question - after all, I'm new here.

I only ask because I'm currently working on my M.Ed. in Secondary Ed. I don't think I have enough classroom experience to render a "teacher's opinion" on the film, though...

I finally watched The Browning Version a couple of days ago and, like previous posters, was completely floored by it. I knew very little about the film prior to watching it, other than the basic plot description, and suffice it to say that it's not the kind of movie during which I expected to find myself openly weeping.

This instantly becomes one of my top 10 favorite films that Criterion has released. It's the kind of unexpected gem that makes me want to get around to viewing more of my unwatched movies in the collection, to see what other treasures there might be.

Great to see this film finally getting some love on this forum.
Razor sharp insight, great craftsmanship , and Redgrave in a truly brilliant lead. What more could you ask for?
An unflinching film that I would definitely recommend to any fans of Ozu or more especially Naruse.

I just watched this movie for the first time yesterday. I stumbled upon it on CC's Hulu+ page and within 24 hours I've watched it three times. What a fantastic film. I was completely floored by Michael Redgrave, yet, I've really never heard of the film or his performance in it. Are there any other hidden gems like this in the collection or elsewhere?I seem to be partial to British pictures of this era (ie. The Small Back Room) as there is something about them that are so quiet and precise, I think.

Green for Danger might be right up your alley (though it's more a potboiler, not as "quiet"). I Know Where I'm Going, if you haven't seen that. Not British, but definitely quiet and precise is Il Posto.

Thanks Matt. I already own Green for Danger (love it), I Know Where I'm Going (also love) as well as all the Reed, Lean and P&P that is in the collection; not to mention the Dearden Eclipse series also. I have never seen Il Posto, though. I will check it out.

mfunk9786 wrote: This is one of the best films I've ever seen! It's an amazing feeling when you watch a film that could have easily been ignored for your whole life, but you gave a try on a whim, and find that you wouldn't want to live without it.

I couldn't agree more. I plan on ordering it from amazon this weekend. It's listed for less than $20 right now.

mfunk9786 wrote: Outside of Mrs. Crocker-Harris, the viewer manages to like the characters they're presented with, despite the fact that they all (outside of Taplow) causing some sort of psychological harm to our unlikely protagonist.

One could argue that Taplow does cause Crocker-Harris psychological harm just by his caring for him. In a sense, by doing so, it's causing Crocker-Harris to confront some ugly truths he's been trying to tamp down for some time.

yeahimajerk wrote:I just watched this movie for the first time yesterday. I stumbled upon it on CC's Hulu+ page and within 24 hours I've watched it three times. What a fantastic film. I was completely floored by Michael Redgrave, yet, I've really never heard of the film or his performance in it. Are there any other hidden gems like this in the collection or elsewhere?I seem to be partial to British pictures of this era (ie. The Small Back Room) as there is something about them that are so quiet and precise, I think.

If you're region-free, Redgrave's performance in the Ealing portmanteu Dead of Night is worth seeing. It's a veritable stable of top drawer British character actors of the period, and you even get Naughton Wayne and Basil Radford reprising their Caldicott and Charters personae under different character names. It's on a Region 2, PAL-encoded DVD from SC/Optimum.

Another Redgrave performance that has similarities to the Andrew Crocker-Harris role (minus the cuckolding) is found in the WWII epic The Dam Busters currently available on Blu-ray from SC/Optimum. It's Region B locked, however.

Crap! I lurked on this board for years and tried to make heads or tails of that thread dealing with region free players. I couldn't, obviously, and therefore I didn't take the plunge and as a result I am still region locked. I knew it would come back to haunt me. So, I am stuck in region A. Thanks, though, for your suggestions!

Asquith has a number of gems in his back catalogue. I'm partial in particular to Orders to Kill and The Woman in Question, the latter of which goes the Rashomon route but which I personally far prefer to Kurosawa's film. Most of Joseph Losey's work is probably a bit gaudier than what you're looking for, but I think The Criminal and King & Country might scratch the itch.

And in terms of Rattigan adaptations, I'm a big booster (one of seven in the world, it seems) of Mamet's version of The Winslow Boy.

Make that eight, although I'm certain there are more supporters of the film around here.

I didn't know that there were people who didn't love Mamet's adaptation of The Winslow Boy.

Mamet haters? I hear they're on the rise...