Blu-ray Movies
"The Asphalt Jungle"
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January 2017
John Huston’s Heist Masterpiece on Blu-Ray
The Criterion Collection 847
Format: Blu-ray
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In 1950, John Huston directed The Asphalt Jungle for MGM and set the pattern for virtually every caper/heist movie to follow. Rififi in particular, with its intricate, suspenseful, nearly dialogueless depiction of a theft, owes much to Huston.
"McCabe & Mrs. Miller"
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December 2016
Robert Altman’s Unique Western on Blu-ray
The Criterion Collection 827
Format: Blu-ray
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American film director Robert Altman loved to bend familiar genres to his own purposes. M*A*S*H (1970) was like no other war movie that had preceded it. McCabe & Mrs. Miller (1971) turned the typical showdown-and-shoot-out Western into a Northwestern, set in the fictional mountain town of Presbyterian Church.
"Night Train to Munich"
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November 2016
Carol Reed Channels Alfred Hitchcock
The Criterion Collection 523
Format: Blu-ray
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Sir Carol Reed (1906-1976) was a British film director best known for three masterpieces: Odd Man Out (1947), The Fallen Idol (1948), and The Third Man (1949). After this brief flash of genius, his films went relatively unheralded until Oliver! (1968), for which he won an Academy Award for Best Director.
"Chimes at Midnight"
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October 2016
Bigger-than-Life Falstaff from Orson Welles on Blu-ray
The Criterion Collection 830
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William Shakespeare was a hero to Orson Welles, who spent much of his career trying to make definitive film versions of the plays. Welles directed an excellent Othello (1951), and his experimental Macbeth (1948) was a flawed masterpiece -- in both, he played the title role. But his greatest homage to the Bard was Chimes at Midnight (1965), which gives a different view of the story of Falstaff and Prince Hal in being a pastiche of parts of Shakespeare’s Henry IV, Henry V, and The Merry Wives of Windsor.
"Carnival of Souls"
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September 2016
The Indie That Wouldn’t Die Finds New Life on Criterion Blu-Ray
The Criterion Collection 63
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Carnival of Souls isn’t one of the black-and-white classics Criterion is known for. It’s a cult indie film that became a horror favorite when Roger Ebert re-screened and reviewed it in 1989, 27 years after its initial release. But considering its history, singular locations, and magnificent camera work, it’s one of the best editions that Criterion has produced. Its many secrets and wonders are revealed through insightful commentaries and a generous set of extras.
"Here Comes Mr. Jordan"
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August 2016
James Gleason Scores Lots of Laughs in One of His Bigger Roles
The Criterion Collection 819
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It’s likely that Here Comes Mr. Jordan (1941), the first film based on Harry Segall’s 1938 play Heaven Can Wait, is probably less well known to contemporary audiences than Warren Beatty’s 1978 remake, which reverted to the play’s title. Then there’s film director Ernst Lubitsch’s Heaven Can Wait (1943), which was based on an entirely different play by Leslie Bush-Fekete and was the reason the 1941 film bore a different title.
"In a Lonely Place"
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July 2016
Psychotic and Vulnerable: Bogart in One of His Greatest Roles
The Criterion Collection 810
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In a Lonely Place (1950) contains one of film noir’s most often quoted speeches: “I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.”
"Only Angels Have Wings"
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June 2016
Barranca and Bananas on an Excellent New Criterion Release
The Criterion Collection 806
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Howard Hawks (1896-1977) had a long and distinguished career in Hollywood, and those in the know rate him as one of Tinseltown’s greatest directors. The general public, not so much. Perhaps that’s because Hawks made films in so many different genres -- Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941, nominated for an Oscar), Ball of Fire (1941), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), Rio Bravo (1959), Rio Lobo (1970) -- even this partial list (Hawks directed 47 films) is quite diverse, and the films themselves lack any obvious signature of director as auteur. In going to see Hawks’s movies, audiences were more interested in the stars than the director. One thing these films have in common is that, regardless of genre, Hawks always elicited the very best performances from his actors -- another reason they were more memorable than himself.
"Bicycle Thieves"
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May 2016
Vittorio De Sica’s Landmark Film: Still Very Moving
The Criterion Collection 374
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Immediately after World War II, Italy’s film industry was a shambles. The studios were gone, good film stock was hard to find, and there was little money. There were independent directors and producers, however, some of them men of genius who established a new style that would not only make film more affordable but take it in a new direction. The style of this movement became known as neorealism, which was similar to the style of verismo that had preceded it in literature and opera. (Verismo was the Italian version of the late-19th-century shift toward naturalism, in operas such as Mascagni’s Cavalleria rusticana and Leoncavallo’s I Pagliacci.) The scripts would be slices of the lives of working-class people, and would be shot on location -- no movie sets -- often with non-actors or those making their debuts. If a well-known actor was employed, he or she would be cast dramatically against type.
"My Own Private Idaho"
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April 2016
Van Sant's Cobbled-Together Masterpiece
The Criterion Collection 277
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My Own Private Idaho (1991) was director Gus Van Sant’s third feature film, cobbled together from several different earlier sources, two screenplays, a story, and Shakespeare’s Henry IV. Many have found its fragmented structure irritating, but every time I watch it, I find that these glimpses into the lives of Mike Waters and Scott Favor add up to a masterpiece.
