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Being that most of these have been given 4k restorations, what are the chances some or all make it to the mainline? Or could this be the first eclipse that goes from DVD to blu?

FrauBlucher wrote: Sun Apr 21, 2019 4:47 pm Being that most of these have been given 4k restorations, what are the chances some or all make it to the mainline? Or could this be the first eclipse that goes from DVD to blu?

Most of the films form this set are available to theater in DCP format on the Janus website which means that an upgrade could be coming soon or it could be part of an u[coming Ozu boxset.

yoloswegmaster wrote: Sun Apr 21, 2019 6:16 pm

FrauBlucher wrote: Sun Apr 21, 2019 4:47 pm Being that most of these have been given 4k restorations, what are the chances some or all make it to the mainline? Or could this be the first eclipse that goes from DVD to blu?

Most of the films form this set are available to theater in DCP format on the Janus website which means that an upgrade could be coming soon or it could be part of an u[coming Ozu boxset.

Ozu getting the Tati or Bergman treatment would be incredible. Are there any of films CC doesn't have access to that would preclude the set from being "complete"?

I suspect that they may not have access to Munekata Sisters -- and, of course, some of the early films exsist only in very deteriorated condition (especially the wonderful Tokyo Inn).

aox wrote: Sun Apr 21, 2019 6:29 pm Ozu getting the Tati or Bergman treatment would be incredible. Are there any of films CC doesn't have access to that would preclude the set from being "complete"?

The Munekata Sisters, which I like much more than others, but which I could see Criterion being willing to deal with leaving out if they can't get the rights.

Michael Kerpan wrote: Sun Apr 21, 2019 6:45 pm I suspect that they may not have access to Munekata Sisters -- and, of course, some of the early films exsist only in very deteriorated condition (especially the wonderful Tokyo Inn).

I guess one out of 49 isn't bad. But also, aren't a few of his early films missing and presumed lost?

aox -- Quite a few early films (including one of his late silent ones) are lost. Not much likelihood of any of these ever showing up at this point. (Only recent "find" was a few extra minutes of the condensed 12mm "home version" of Tokkan kozo). OTOH -- one of Naruse's post-war talkies is lost (made by a minor studio during the era of the labor strife at Toho).

Michael Kerpan wrote: Sun Apr 21, 2019 10:37 pm aox -- Quite a few early films (including one of his late silent ones) are lost. Not much likelihood of any of these ever showing up at this point. (Only recent "find" was a few extra minutes of the condensed 12mm "home version" of Tokkan kozo). OTOH -- one of Naruse's post-war talkies is lost (made by a minor studio during the era of the labor strife at Toho).

Good info. Thanks.

Tokyo Twilight is will be playing at the Film Forum Here... It’s a new 4k restoration. Look for this to make an escape from the Eclipse to the mainline.

That's what we all thought six-and-a-half years ago when Shochiku restored Late Autumn and Equinox Flower in 4K. My beard has grown long and white waiting for these from Criterion.

Maybe it’ll be an eclipse set that goes blu. I can’t see CC not releasing the 4ks at some point. But just in case keep the clippers on hand.

Yeah, maybe they are just taking their time and wait for The End of Summer to be restored and then go Blu with all five films in a box set.

Or perhaps a whole kit and caboodle Ozu box

FrauBlucher wrote: Wed Nov 06, 2019 11:51 pm Or perhaps a whole kit and caboodle Ozu box

I used to dream of this happening

For those interested, Carlotta just released in France a 11-BDs set with the 10 4K/2K existing restorations, and I reviewed it for Retro-HD.
You'll find screencaps for all these movies but also comparative caps with older BDs (the BFI mostly).
It's indeed missing The End of Summer, for which I'm wondering what the Shochiku is waiting for. They restored 5 color Ozu (4 in 2013) (Floating Weeds is missing from the set because Carlotta had the theatrical rights but sadly not the video ones), I don't understand why they haven't done The End of Summer too.
Side note : Tokyo-Ga was also restored in 2014 (4K scan + 2K restoration).

tenia wrote: Thu Nov 07, 2019 7:20 am For those interested, Carlotta just released in France a 11-BDs set with the 10 4K/2K existing restorations, and I reviewed it for Retro-HD.
You'll find screencaps for all these movies but also comparative caps with older BDs (the BFI mostly).
It's indeed missing The End of Summer, for which I'm wondering what the Shochiku is waiting for. They restored 5 color Ozu (4 in 2013) (Floating Weeds is missing from the set because Carlotta had the theatrical rights but sadly not the video ones), I don't understand why they haven't done The End of Summer too.
Side note : Tokyo-Ga was also restored in 2014 (4K scan + 2K restoration).

I think it's Toho not Shochiku and is perhaps one reason it was sidelined to Artificial Eye instead of Criterion or BFI

It's indeed Toho.
I thought only The Munekata Sisters was (one of his later work done) outside Shochiku.
This probably explains that indeed.

Ozu made only 3 non-Shochiku films ever -- Munekata Sisters for Shintoho, Floating Weeds for Daiei and Autumn of the Kohayagawa Family (End of Summer, in inexplicably, in English) for Toho. Interestingly, while definitely Ozu films, the two latter films are also clearly products of their respective studios (and not entirely typical of Ozu). Munekata Sisters is just plain atypical (no Shintoho housestyle -- just a hodge podge of "prestige" films in its early days). Floating Weeds features very "bravura" lead performances (very unlike those in the earlier silent version) and Kohayagawa Family features a very sprawling plot, very much like some of Naruse's Toho films made around the same time.

End of Summer has a searing score that's quite different from anything in the Shochiku films, and I even seem to recall reading that Ozu was not happy with it. I admit it's fascinating to watch the few extant Ozu films that don't quite work, because they somehow clarify what's so singular and precious about his approach... as well as revealing that he was not, after all, quite superhuman. I also often wonder what Ozu's films would have looked like had he lived another 20 years or more and continued making films through the 1960s and 1970s (or even the 1980s!). He would have probably had to adjust to more of the changes in the film industry, toward more sexual frankness and "adult" genres, widescreen, etc. How might be have responded to the New Wave? (Granted, maybe he would have just ignored these things, or "addressed" them with extreme obliquity, as he mostly did in his very last films.) Would his aesthetic (or even talent) have unraveled, and how would that have affected our view of his (as it is, close to artistically pristine) body of work?

Michael Kerpan wrote: Thu Nov 07, 2019 2:43 pmOzu made only 3 non-Shochiku films ever -- Munekata Sisters for Shintoho, Floating Weeds for Daiei and Autumn of the Kohayagawa Family (End of Summer, in inexplicably, in English) for Toho.

Thanks for the clarification. I knew he only made 3 non-Shochiku movies ever, but for some reasons, I thought the other 2 were much earlier movies.
I've seen Floating Weeds new 4K/2K (4K scan / 2K restoration) restoration in theaters this summer. It's akin to the other color restorations. I however wasn't too taken by the movie, which I found to be quite overlong.

tenia -- there are lots of things I love about the later Floating Weeds (especially the cinematography), but I must say I love the silent b&w version more overall.

I havent seen the silent one but it's included on the new French boxset. I'll try looking at it while it's hot.

Michael Kerpan wrote: Mon Jul 06, 2009 4:54 pm I think Early Spring is a bit long. But I don't think much could (if anything) be shaved off.

I like your quote MK because I think Ozu intended the exhaustive length (as you said, there's nothing to cut out). There's uncertain hope at the end of the film, but would the shades of tired resignation really ring true in a neat little concise 1 hour 45 minute movie? I think not.

Early Spring may not have Setsuko Hara, but Ryo Ikebe and Chikage Awashima were outstanding, and the film is every bit the equal of Late Spring, Early Summer, and Tokyo Story imo. Truly one of the greatest films ever made.

I wonder if Early Spring was not one of the earliest films to criticize Japan's post-war (big city) business culture harshly -- the whole phenomenon of middle-class men basically having to devote virtually all their time to work-related activities (to the near-complete neglect of family). Chishu Ryu offers an interesting counterpoint, rejecting that system, happily accepting relegation to "the sticks" -- where he could do useful work but could balance this with being involved with his wife and children (and probably neighbors, etc.).

Michael Kerpan wrote: Thu Aug 26, 2010 7:16 pm There is humor in Early Spring, but much of it tends to sting a bit.

The scene at the bar near the end is one of the funniest -- and grimmest -- scenes in all of Ozu, yet it's only the third best scene in the last 15 minutes of the movie. There's comedic music playing in the background (a rarity for Ozu) while Eijirō Tōno drones on about his disillusionment with salaryman life after 31 years. "Life is just an empty dream". Most people would just find this scene maudlin, but I'm sure Ozu found it comedic, judging by the music and Eijirō Tōno's delivery. I chuckle quite a few times through that scene, and yet everything he says is true -- it's a dark kind of humor. Even Ryo Ikebe starts tuning him out after a moment or two. Watch closely and you'll notice Sugi looks at the old man when he starts talking, but once the conversation goes in a direction that isn't exactly a good omen for his future, Sugi doesn't look at him again, just keeps his head down in his drink, smoking his cigarette, looking ahead, occasionally glancing in So Yamamura's direction, even though Ozu doesn't cut to a close-up of him for another five minutes. Lots of great details like that in all Ozu scenes.