criterionforum.org

ptatler wrote:

movielocke wrote:Looking back at that 2012 schedule picture

Where might one see this picture you speak of?

FilmFanSea wrote:Does anyone know why bluray.com has six Criterion titles listed with release dates TBA: Kwaidan, Badlands, Brazil, and Inagaki's Samurai trilogy? (This may be completely old news, but I searched & didn't see it mentioned on the site.)

FilmFanSea wrote:Does anyone know why bluray.com has six Criterion titles listed with release dates TBA: Kwaidan, Badlands, Brazil, and Inagaki's Samurai trilogy? (This may be completely old news, but I searched & didn't see it mentioned on the site.)

I've just written an essay for the Criterion Collection's BluRay release of The Blob.

ianungstad wrote:I'd add Ministry of Fear to your fall predictions. It was one of the only titles in that 2012 teaser I could actually make out!

movielocke wrote:I'm going to guess that Spartacus will be upgraded sometime after the Academy premieres a new DCP/digital restoration of it later this summer/fall.

bainbridgezu wrote:Universal has licensed The Island (Michael Ritchie, 1980) to Shout! Factory to release under their new Scream Factory imprint. Interestingly, the film was recently issued by Universal themselves as a "Vault Series" DVD-R (on 07/27/2011).

I wonder if this means that Universal would still be open to allowing Criterion to produce their own editions of other MOD titles like Blue Collar (Anchor Bay release had a commentary with Schrader) or Fellini Casanova (available on blu-ray elsewhere in the world).

SpiderBaby wrote:Or Dishonored and Shanghai Express. [-o<

rockysds wrote:From Monte Hellman's twitter:

Bootleg of DVDs. Wait for authentic Bluray scans from negative THE SHOOTING & RIDE IN THE WHIRLWIND next year.

BAMPFA wrote:An epigraph from Rossellini calls this two-part film “an homage to the art of Anna Magnani,” but “homage” may not be strong enough to describe a work so deeply in the actress’s thrall. Based on a play by Jean Cocteau, the first segment, A Human Voice, focuses intensely on the voice—and face—of Magnani, alone with the telephone, talking her way through the end of love. Promising strength while evincing its opposite, Magnani creates a portrait of implacable grief. The film moves from claustrophobic interiority to the rustic open air for The Miracle, in which Magnani is coarse, funny, and unsentimentally touching as a naive goatherd pregnant by a mysterious stranger whom she believes to be Saint Joseph. Federico Fellini cowrote the script (also appearing as the dubious Joseph), and there is a touch of La strada’s Gelsomina in Magnani’s daft peasant soul. Fellini and Rossellini’s unconventional parable didn’t sit well with the American Catholic church, sparking a protracted censorship battle that ended in a key Supreme Court decision upholding cinematic freedom of speech.

—Juliet Clark

• Written by Rossellini, Tullio Pinelli, Federico Fellini, based on the play La voix humaine by Jean Cocteau and on a story by Fellini. Photographed by Robert Juillard, Aldo Tonti. With Anna Magnani, Federico Fellini. (78 mins, In Italian with English subtitles, B&W, 35mm, From Cinecitta Luce S.p.A., permission Janus Films/Criterion Collection)