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I'm sort of surprised and not surprised that Patriotism is a small digipak a la Sansho the Bailiff. All that text.

Both look excellent! =D>

This cover has grown on me, but I'm still trying to digest Salo.

Cinephrenic wrote:This cover has grown on me, but I'm still trying to digest Salo.

don't worry, it's only chocolate and marmalade.

Agree with everyone about Twenty-Four Eyes, the cover art director seems to be under the impression early David Lean directed it. Those four laurel thingies around A Film by...Kinoshita'? Yeah, totally appropriate for pre-post WWII Japan. Also, I bet originally it was clearly "Eyes" but then they decided, hey wait, if we blow up the lower part of the E we can surround the teacher and kids, that would be cool.

souvenir wrote:Some Mishima innards courtesy of Barnes & Noble (places the cover art in a better light)

Well, I guess it makes a little more sense when you see what the overlapping elements are (oh, those pink parts are squatting naked Mishima's.). Also either they made some changes or the cover image from Criterion's page is just really bad. This isn't as blindingly fluorescent, the background is now light green instead of beige and now you can tell the blue at the bottom is supposed to be the ocean.

I still say the colors are all wrong. It's like the inspiration was the Powerpuff Girls.

lacritfan wrote:It's like the inspiration was the Powerpuff Girls.

I wish I'd said that to them when I e-mailed about the Mishima cover art. I still wish they'd change High and Low.

Jean-Luc Garbo wrote:I wish I'd said that to them when I e-mailed about the Mishima cover art. I still wish they'd change High and Low.

Not to be ultra-judgmental, but you just e-mail them every month cover art is revealed to give them your two cents? Really?

HerrSchreck wrote:Your point being?

Sorry, I should've elaborated. It's just that's what I instantly thought of what I saw this new cover. They both have these swirls and a really nice looking sky taking a large portion of the real estate. I Vitelloni less so (no swirls), but same color spectrum.

This is going to sound really superficial, but the foil totally makes the Mishima cover for me. I almost like the complete packaging more then Patriotism's.

What can I say? I like shiny stuff.

Patriotism and Mishima look awesome. More Criterions need that kind of packaging - it looks better on the shelf, too. Nice squared box.

mfunk9786 wrote:

Jean-Luc Garbo wrote:I wish I'd said that to them when I e-mailed about the Mishima cover art. I still wish they'd change High and Low.

Not to be ultra-judgmental, but you just e-mail them every month cover art is revealed to give them your two cents? Really?

Actually, no. It's the first time I e-mailed them in two years. The Mishima art really bothered me.

Striking resemblance? Lazy covers, I think.

The Furies packaging courtesy of Barnes & Noble:

Looks gorgeous.

This is only making me want to buy it even more.

I know nothing about Anthony Mann, and while the inclusion of the novel made this a likely buy, that package made it a must-buy. Gorgeous.

jbeall wrote:I know nothing about Anthony Mann, and while the inclusion of the novel made this a likely buy, that package made it a must-buy. Gorgeous.

You should get your ass out there and acquire T-Men and Raw Deal pronto. (and He Walked By Night). Absolute peaks and paradigm-layer-downers of what became known as films noir. My favorite Mann is his work with John Alton at Eagle Lion. But--

Then Side Street. The Black Book (the Furies fits in right about here). Winchester 73. El Cid. Fall of the Roman Empire.

The man practically invented "lemonade from lemons". And one of the most masculine, and urban-American, of all filmmakers. What John Ford was to the gruff grabassing West under the hot sun, Mann was to the shadows and alleys of LA & NYC. But whereas Ford could never really achieve a major voice of his own in Urbana, Mann absolutely could slide right over into the western, or ancient Rome, or Revolutionary France, and bust his shit out just as powerfully. The man was snare-tight cinema.

The only Mann feature I've seen is The Tin Star but it was really great and this is coming from someone who generally doesn't like "classic" Hollywood.

HerrSchreck wrote:You should get your ass out there and acquire T-Men and Raw Deal pronto. (and He Walked By Night). Absolute peaks and paradigm-layer-downers of what became known as films noir. My favorite Mann is his work with John Alton at Eagle Lion. But--

Then Side Street. The Black Book (the Furies fits in right about here). Winchester 73. El Cid. Fall of the Roman Empire.

Well, I won't be buying them--I have relatively little kevyip, and prefer to keep it that way--but my Netflix queue is spiraling out of control, esp. with films noir on the basis of your recommendations!! I'll start with The Furies and <sigh> add the rest to my netflix queue.

More cardboard

And yet another book I will probably never have time to read #-o

(Furies) Looks purty though...

(Thumbs down on Patriotism, could have easily been snap-cased...)

(Mishima, guess I'll defer my judgment until after I get an undamaged copy... or maybe just wait for the blu-ray.)

banned

I don't think I've ever heard someone argue that anything should be packaged in a snapper case.

miless wrote:I don't think I've ever heard someone argue that anything should be packaged in a snapper case.

Actually meant keep-case, but now that you mention it, is there really all that much difference between a snap case and a digipak?

other than an outer box and a thick book, yes.

This may be the best Criterion cover art...