Yet, The Naked City’s glorious compositions tell their own truth, offering a portrait of a city that’s teeming with honor and evil and decay and beauty, as well as irreconcilable mixtures of all of the above. Not too keen on the ending (kind of leaves you suspended in mid-air), but Robert Forster is at his best in Medium Cool.

The Blu-ray itself includes La Cravate, an early short film from 1957, based on a Thomas Mann novella, and told entirely in mime. Set against the culture of the Vietnam War, where pictures of far-off foreign warfare and domestic mobilization against it were beamed into American homes, Medium Cool ingeniously captures the images of its era, via the documentary footage of riots and head-on monologues soldered into its narrative architecture, along with its mood. And The Naked City has the very same limitation as Law & Order, as its fanatical devotion to “the system” squanders the sense of personal obsession and neuroses that drives classic noir and crime films. By blending in actual footage of demonstration practices (which lends to the cinéma vérité style), Wexler goes into the heart, allowing the viewer, like the cast and crew, to both observe and become a part of the scene. Like the Criterion Collection’s recent transfer of Brute Force, The Naked City boasts a new 4K restoration, culled together from many sources, that looks and sounds superb. Robert Forster and Verna Bloom are great in this. Their provocative public performances were part secular ritual, part intentional scandal, replete with copious nudity and blasphemous religious imagery (elements not entirely lacking in Jodorowsky’s later films). It’s the thoughtful manner in which Claudine juxtaposes the harshness of existing in a state of poverty with the simple, often fleeting pleasures of life that makes it such a fascinating and unique film. With the U.S. in social upheaval, famed cinematographer Haskell Wexler decided to make a film about what the hell was going on.

Shop Medium Cool [Criterion Collection] [DVD] [1969] at Best Buy. Lionsgate’s 1080p presentation of Shivers looks excellent overall, especially given the film’s ultra-low budget, with grain levels in particular looking suitably cinematic. Claudine’s six children crowd their tiny apartment with their own emotional baggage, be it her eldest son Charles’s (Lawrence Hilton-Jacobs) burgeoning social conscience, her younger son Francis’s (Eric Jones) desire for invisibility, or her teenage daughter Charlene’s (Tamu Blackwell) troubles with booze and boys. Medium Cool (Criterion Collection) [Blu-ray] by Robert Forster. Whether the film is in the midst of depicting murder, tragedy, or revolution—and Lucía abounds in depictions of all three—Solas directs with a focused fury seldom seen in the annals of cinema; he constructs indelible images of beauty and rage with an intensity that’s wild-eyed but simultaneously grounded in the specificity of each era. We are surrounded by violence. MEDIUM COOL Revisited (33:16): Wexler returns to Chicago, this time to document the 2012 protests against the NATO summit. Psychomagic offers an English Master Audio surround mix, which gives some decent channelization to whatever bits of music may arise. Image clarity is also very good, as there are no signs of motion-blurring during the constant, rapid movements during the film’s boxing matches. We work hard to protect your security and privacy. Sourced from a new 4K digital restoration, the Criterion Collection’s transfer of Claudine is spectacular, boasting a consistently sharp image while still honoring the film’s gritty, rough-edged aesthetic. The Scene-Stealers Podcast on iTunes or our RSS. Classic period slice of late '60s turmoil, Reviewed in the United States on December 7, 2013. The narrative’s trajectory is every bit as predictable as the results of Roff and Dave’s fights, but Wyler makes Dave’s redemptive journey as tough as it is thrilling, with an extended and invigoratingly brutal boxing match that sees Dave atone for his sins by staying in the ring and surviving the pugilistic fury of the enraged Roff. The film is perfectly liminal, moving between documentary and fiction, between observations and incitement, between hot and cool, between the buoyant optimism of America in the 1960s and the warranted cynicism that would come to define the 1970s.

The rich-poor divide was as large as ever. Both emphasize the breakdown of social structures, as well as the potential for their perversely polymorphous restoration. Clad in a black leather ensemble inspired by Elvis Presley’s televised concert from 1968, Jodorowsky himself plays the eponymous gunslinger, first seen instructing his naked son (Brontis Jodorowsky) in the fine art of putting away childish things by burying them in the sand.

Criterion presents Pierrot le Fou in a new 2K restoration that’s a few notches above their already excellent—and long out-of-print—2009 release in terms of color saturation and the clarity of fine details. The audio is also a major improvement from the DVD, with clean dialogue and appropriate balance in the more chaotic scenes. The grain level is consistent and cinematic throughout, with the 4K exhibiting stronger color saturation and more accurate skin tones. Raoul Coutard’s ravishing Techniscope cinematography looks livelier than ever. Medium Cool (Criterion Collection) DVD. The MPAA gave it an “X” rating, presumably because of its controversial political content, but Medium Cool was eventually knocked down to an “R” the following year. On their respective discs, the first three films come with an introduction from film scholar Richard Peña, a 2019 interview with Jodorowsky reminiscing about the film, and an archival commentary track from Jodorowsky.

The shot then pans out to reveal the film’s—that is, Medium Cool’s—own camera operator (Wexler himself) capturing all of this. Singlehandedly inaugurating the midnight-movie craze upon its release in 1970, El Topo combines the arid landscapes and ultraviolent showdowns of the Italian western with the dogged quest for spiritual illumination that’s at the heart of King Hu’s Touch of Zen. The monaural soundtrack is similarly sturdy, and the score by Miklós Rózsa and Frank Skinner has never sounded lusher. Most pivotally, Lynch is committed to rendering the sensorial experience of living as a physically damaged, greatly abused man who encounters nothing but revulsion until Treves offered him the miracle of empathy. Immediately fed up, he returns home and runs off with the family babysitter, Marianne (Karina). In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Working in Mexico in 1968, Jodorowsky filmed Arrabal’s deliriously dystopian play Fando y Lis using only a one-page script and his memory of the stage production. In a cut to a close-up of Dave, Wyler highlights the conflicted nature of his protagonist’s reaction, finding him simultaneously horrified and proud that the boy is already so streetwise at such a young age. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Film scholar Charles Ramirez Berg explains how the coming of sound saved Mexican cinema, with Dos Monjes playing a key role in that momentous event. In Requiem for a Dream, there’s nothing going on but style, and ultimately, that just isn’t enough. In a sort of backhanded allusion to its working title, Orgy of the Blood Parasites, the film does in fact conclude with something resembling an orgy in the complex’s swimming pool. Cast: Paul Hampton, Joe Silver, Lynn Lowry, Allan Migicovsky, Susan Petrie, Barbara Steele, Ronald Mlodzik, Camille Ducharme, Hanka Poznanska, Wally Martin, Vlasta Vrána, Silvie Debois, Charles Perley Director: David Cronenberg Screenwriter: David Cronenberg Distributor: Lionsgate Home Entertainment Running Time: 88 min Rating: NR Year: 1975 Release Date: September 15, 2020 Buy: Video. Criterion’s director-approved 4K digital transfer was struck from the film’s original 35mm negative. Haskell Wexler (14:52): In this interview, Wexler discusses MEDIUM COOL and the state of the nation at the time. This strategy allows us to savor the fleetingness, the value, of each of Merrick’s lovely encounters—especially the extraordinarily moving passages with Treves’s wife, Ann (Hannah Gordon), and the theater actress Madge Kendall (Anne Bancroft)—at the same time as Merrick is allowed to be taken at face value as human. He would also later work with George Lucas, Hal Ashby, Milos Forman and Terence Mallick in the 70s shooting important films of the `New Hollywood'. It's 1968, and the whole world is watching. The film’s central plot is both revolutionary and sentimental, animated by Hellinger’s desire to translate his folksy columns to the cinema as a celebration of the intertwining infrastructures that comprise New York City as a synecdoche for America. Like Forster’s frustrated sort-of journalist, Medium Cool aggressively straddles the place between reportage and something else. It’s all meant to be an indictment, it seems, of Brazil’s military dictatorship, but Babenco only gestures at depicting institutional corruption beyond the most obvious melodramatic swipes at police making murders appear like suicides. The audio track is similarly excellent, especially considering the film’s mixing of overlapping dialogue, raucous and noisy crowd scenes, and incidental music—much of which is provided by Frank Zappa and the Mothers of Invention. Clumsy melodrama would condescend to Merrick, paying him the insult of pity while compromising the profound lightness of being, and an awareness of seemingly unimaginable pain, that Hurt brings to the role. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. We work hard to protect your security and privacy.



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