Jim Jarmuschs Dead Man (German Edition)
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The luminous cinematography of Sol Polito most famous, perhaps, for the still mind-bending Gold Diggers of comes off somehow both assertive and delicate, showcasing just how much the camera loved Bette Davis no matter how many times she claimed to be anything less than stunning. Flaws are almost nonexistent, limited solely to those inherent in the source material. The dynamic range of grays is rich, lending extra subtlety to the never-fully-melodramatic scenario.
But while their release of All About Eve ends up recycling nearly all of its bonus features from the many various editions that have come before it, Now, Voyager slate of extra content is almost entirely new. Well, not technically new in the sense that it includes a number of archival clips, but the assemblage is indeed fresh.
And hundreds of other delicious asides. Far less meaty but certainly welcome is a vintage news clip detailing the life and times of Paul Henreid, who at the time had just been awarded the Austrian Decoration for Science and Art. Finally, the accompanying booklet includes a essay in which Davis spends about 8, words or so describing a day in the life of an actress.
That vehicular signifier of suburban complacency looks like an alien spaceship as it lumbers its way through the crowded streets of Manhattan.
Dead Man • Senses of Cinema
The long-suffering family patriarch, Jim Pat McNamara , on the other hand, is the reluctant chauffeur for the day. Nowhere is this more evident than in her fawning affection for Carl. Davis and Posey embody very different women who nevertheless share a deep, unbreakable bond: their mutual bemusement at their parents. The film is really only interested in gayness as it affects straight relationships. For Rita, a woman without a man is essentially worthless—an incomplete person.
Appropriately, this film of crowded ensemble scenes ends with a long shot of Eliza and Jo walking away from their family arm in arm, finally understanding that, in the end, all they really need is each other. The result cleans up imperfections such as dirt and scratches while preserving the pleasantly grainy texture of the film elements. The uncompressed stereo soundtrack is crystal clear, balancing the talky dialogue with the groovy bossa nova music interspersed throughout the film. Criterion has also produced some amiable interview segments between Mottola and most of the principal cast Parker Posey, Liev Schreiber, and Campbell Scott in one segment and Hope Davis in another.
Critic Emily Nussbaum provides an appreciative essay, though the highlight of the booklet is undoubtedly R. The two meet in a small Polish village in , when Wiktor is auditioning local girls for a folk troupe.
All 13 Jim Jarmusch Films Ranked, From Worst to Best (Photos)
Zula stands out not because her audition demonstrates a reverence for the folk traditions that the ensemble is meant to promote, but because she transcends them, performing a spirited song from a Russian musical she saw when she was a girl. But at the same time, no one else comes as close as Wiktor does to pleasing her. Another recurring image in the film—a remnant of an old artwork painted in a ruin, of a pair of massive, watchful eyes—seems to seal the fate of these lovers before their affair even begins, and Zula and Wiktor return to the site when their story reaches its conclusion.
darienmorris.com/what-is-the-best-mobile-phone-spy-application-samsunggalaxy-a3.php Cold War is striking for its precise calibration of narrative minimalism and aesthetic elementalism, and for breaking from the classicist formalism that Ida feels bound to honor. That leaves Cold War most exhilarating as a breathless vessel for mood, one that just so happens to conduct itself within reconstructed period settings that are as obsessively detailed as the reverently curated soundtrack.
While here, too, certain notes are struck that one will hear again in the other features, the discussion of working methods in this interview goes into quite a bit more depth than in the other videos, given that the two discussants are each accomplished filmmakers. This is one of the rare American films to give dramatic heft to the strategic challenges and mortal stakes of labor organizing. Industrial Workers of the World organizer Joe Kenehan Chris Cooper, unflappable in his first film role is the one man who recognizes this stark reality from the onset.
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In the first of several stirring monologues delivered to his comrades with a mix of presidential poise and fiery passion, Kenehan advances the argument that a union beset by selective inclusion along racial biases is no union at all, and that differences in background are merely a smokescreen used by the powerful to distract the powerless from the fundamental similarities of their situation.
Scenes of hushed union strategizing stand in for cowboys-by-the-campfire nocturnes, and the flashes of deadly action, precipitated by the careful coordination of attack positions, recall the methodical build-ups to desert ambushes in any number of studio precursors. Criterion does the film full justice with a rich 4K scan that saturates the earthen tones of West Virginia, emphasizing the verdant landscape that the miners call home. Sound is handled with similar delicacy.
These stories are further contextualized in the excellent commentary track, wherein Sayles and Wexler bounce off each other like old buddies, revisiting logistical challenges and illuminating artistic intentions. The disc is rounded out by an original trailer and a sturdy essay by A. Hamrah, at once thoroughly researched and sharply analytical. This release leaves a bit to be desired in terms of extras, but the dazzling transfer and beautiful packaging are second to none.
Almost instantaneously, the comforts and security of her childhood are shattered as she enters the terrifying, expansive terrain of adulthood, embodied here by the Spirit Realm, a magical world in a state of constant flux, populated by a vast array of gods, demons, and animistic spirits. The fluidity and inconstancy of this dominion quickly become apparent to Chihiro when she sees her voracious parents turned into pigs after they gorge on a feast left unguarded in the seemingly abandoned town they discover on the other end of the tunnel.
The multi-tiered bathhouse, which Yubaba lords over from her luxurious top-floor oasis, serves as a visually rich and thematically potent metaphorical setting, a place whose social and class structures are akin to those of the world Chihiro has just left behind. And as she works her way up from the basement to servicing baths on the main floor, the young girl encounters the ugliness and greed of seemingly good, ordinary people, or, in this case, spirits.
Little needs to be said about the original film, which remains the most potent depiction of monster-as-metaphor since the heyday of gothic fiction. With its apocalyptic imagery and depiction of the ways that men can make weapons even more monstrous than the foes they seek to repel, Godzilla remains as compelling today as it was 65 years ago. Despite running only 80 minutes, it freely recycles shots from its predecessor and devotes a significant portion of its runtime to listless romantic drama and moments of jocularity between thinly sketched characters.
Even so, the film boasts two showstopping moments worthy of Godzilla. The other, a climactic attack on Godzilla that sees Japanese jets bombing a mountain in order to bury the creature in snow and ice, is equally eerie, ending Godzilla Raids Again on a note of uncertainty rather than victory.
Godzilla , a garish spectacle with special effects somehow less technically impressive than those of its decade-older predecessors. The success of King Kong vs. The remainder of the Showa-era films are wildly variable in quality typically strongest when Honda returns to the helm but surprisingly consistent in their evolution of tone. The horror of the original gradually morphs into a lighter, more action-oriented atmosphere as Godzilla himself transforms from the embodiment of annihilation to something of a chaotic good, the defender of Japan, not its destroyer.
And as Godzilla became a fixture of Japanese entertainment, so, too, did it start to reflect new trends in pop culture. Godzilla vs. Megalon , for example, sees the monster team up with the giant robot Jet Jaguar, which is blatantly modeled after the Ultraman character that was popular on then-contemporary Japanese television. The film even went a step further to tie the character into the emerging mecha trend in live-action and animated entertainment.
Occasionally, the titles in the series returns to their socially conscious roots. Hedorah , from , pits Godzilla against a smog monsters, at a time when Japan was dealing with a significant pollution crisis, while King Kong vs. Godzilla fascinatingly nests its narrative amid a framing device of exploitative television executives actively documenting the carnage of the monsters for ratings. For the most part, though, the social awareness of the series during the Showa era is largely subliminal. Among other things, the series affords a window into the changing landscape of Japan as it rapidly became Westernized.
The shogun-era buildings that dominate the early films with traditional Japanese architecture of curved, tiled roofs and wooden pavilions give way to the gleaming, anonymous skyscrapers that, in their own way, loom as coldly and dissonantly against the idyllic countryside as Godzilla himself. In that sense, the giant lizard, who comes to defend Japan while crashing through such buildings with indifference, represents a subtle level of defiance against the lingering effects of Western occupation, with the monster tacitly pitched as the unleashed id of a Japanese postwar identity.
The Showa sequels, in sharp contrast to their terrifying origin point, are often whimsical and goofy, softening Godzilla in order to appeal to children and the global market. Yet by bundling all of the original Godzilla films together, Criterion makes it easier to appreciate how small quirks grow into dominant traits across the franchise, or how the ever-expanding menagerie of beasts who battle or align with Godzilla, or both, fills in a rich universe of aliens, ancient cults, and contemporary humanity. Even the worst films here are worth recommending for one reason or another, and the best showcase a variety of thrills, be it the all-out action of Destroy All Monsters or the critique of reflexively violent mankind in Godzilla vs.
All 15 films have received high-definition transfers, but image quality can be inconsistent. The original film looks pristine, its black-and-white photography rendered with no crushing artifacts and with excellent contrast. The remaining films show more in the way of debris and scratches, though each looks significantly sharper than they have on previous releases, with stable colors and textures and none of the softness that plagues old standard-def transfers.
Megalon , Godzilla vs. Mechagodzilla , and Terror of Mechagodzilla come with English-language dubs. The English and Japanese versions of King Kong vs. Godzilla are located on separate discs. For its 1,th release, Criterion has gone all out, starting with the packaging. Foregoing a normal-sized box, the label houses the discs in an oversized book that suggests a commemorative edition of a graphic novel, right down to the highly chromatic artwork commissioned to represent each film.
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And each film also contains its own essay from a host of contributors, as well as an overarching essay by film historian Steve Ryfle. The set also comes with the English-language version of the original Godzilla , as well as the aforementioned Japanese cut of King Kong vs.
Godzilla , alongside a host of other extras. Behind-the-scenes documentaries show those extensive practical effects being filmed, and audio commentaries from critic David Kalat on Godzilla and its America re-edit delve into the overall themes and deviations between the two versions. Dirty Harry might not have come to be had Siegel not taken an earlier stab at telling the story of a loose-cannon cop with Madigan , though to deem the earlier film merely a warmup for a more iconic, more incendiary variation on the same themes is to undersell it. Scripted by Howard Rodman credited under the pseudonym Henri Simoun and the formerly blacklisted Abraham Polonsky from a novel by Richard Dougherty, a former police commissioner, Madigan tells the story of an unorthodox police detective, Dan Madigan Richard Widmark , and his partner, Rocco Bonaro Harry Guardino , who together botch a pickup of a homicide suspect and instigate a three-day manhunt that practically throws off the equilibrium of the entire New York Police Department.
Where Dirty Harry isolated its magnum-wielding hero against a police force defined by bureaucratic tepidity and incompetence, Madigan gives conventional rules-and-regulations authority its due, incarnating it within the person of Police Commissioner Anthony X. Russell, played by a perfectly cast Henry Fonda. Fonda had by this point cultivated a formidable roster of conflicted authority figures over a span of nearly four decades in Hollywood.
That opportunity comes when his longtime friend, Chief Inspector Charles Kane James Whitmore , is caught red-handed in a bribe. Russell may give the dangerous order for Madigan to apprehend the killer on the loose within a hour window, but that order trickles down an elaborate chain of command before it reaches its recipient. While Madigan is racing against the clock on the gritty streets of Spanish Harlem and Russell is stationed in his plush office or making appearances at PR events, the tension between the two men is always palpable.