Alain Resnais, Jia Zhangke, and Ken Russell each stand as pillars in filmmaking, contributing unique perspectives and creative genius to the industry. Blu-ray and DVD reviews of these renowned classical directors’ movies are not here.
A French director, Alain Resnais is renowned for his innovative approach to narrative and time in cinema.
With classics like “Hiroshima Mon Amour” and “Last Year at Marienbad,” Resnais has left an indelible mark on storytelling.
Jia Zhangke, a visionary Chinese filmmaker, has become a symbol of contemporary cinema.
His works, such as “Still Life” and “A Touch of Sin,” delve into the complex tapestry of modern China, earning him international acclaim for his insightful storytelling and bold visuals.
A British maverick, Ken Russell brought a dazzling and audacious style to filmmaking.
Known for his provocative films like “Women in Love” and “Tommy,” Russell fearlessly explored the boundaries of cinema, creating a lasting impact on the medium.
These three directors, each with their distinctive flair, have left an indelible mark on the world of cinema, enriching it with their creativity and pushing the boundaries of storytelling.
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Blu-ray and DVD Review: Muriel or The Time of Return (1963) Criterion Collection
In Alain Resnais’ third feature film, “Muriel,” the exploration of memory’s oppressive and disorienting power continues from his previous works, “Hiroshima mon amour” (1959) and “Last Year at Marienbad” (1961).
While Marienbad is renowned for its legendary ambiguous elisions, “Muriel” is a more challenging and rewarding experience despite ostensibly having a more straightforward narrative.
Delphine Seyrig, once again under Resnais’ direction, serves as an emotional anchor in a film deliberately designed to alienate its audience.
Seyrig portrays Hélène, a widow visited by her lover over 20 years ago, Alphonse (Jean-Pierre Kerien).
The film explores Hélène’s complex relationships with Alphonse, his supposed niece Françoise (Nita Klein), and her stepson Bernard (Jean-Baptiste Thierrée), who returned from the Algerian War.
Resnais opens the film audaciously, disorienting the audience with rapid cuts between numerous objects in Hélène’s apartment, symbolizing her cluttered mind.
While the editing becomes less aggressive, the film transitions into a more elusive form, presenting seemingly chronological scenes with disconnected events.
“Muriel” demands multiple viewings to appreciate the nuances Resnais employs in depicting the crushing effect of resurfaced memories.
The film’s title carries weight, revealing a horrific memory tied to Bernard’s connection to the trauma of war.
Criterion’s Blu-ray release significantly improves clarity and detail compared to previous DVD releases.
Some color timing concerns have been noted, but the enhanced image quality makes it the best home video option.
The uncompressed mono soundtrack is serviceable, and archival supplements include excerpts from TV documentaries and interviews, along with a newly recorded interview with scholar François Thomas.
The insert essay by scholar James Quandt further enhances the viewer’s understanding of the film’s intricate ideas.
In Alain Resnais’ third feature film, “Muriel,” the exploration of memory’s oppressive and disorienting power continues from his previous works, “Hiroshima mon amour” (1959) and “Last Year at Marienbad” (1961).
While Marienbad is renowned for its legendary ambiguous elisions, “Muriel” proves to be a more challenging and rewarding experience despite ostensibly having a more straightforward narrative.
Delphine Seyrig, once again under Resnais’ direction, serves as an emotional anchor in a film deliberately designed to alienate its audience.
Seyrig portrays Hélène, a widow visited by her lover over 20 years ago, Alphonse (Jean-Pierre Kerien).
The film explores Hélène’s complex relationships with Alphonse, his supposed niece Françoise (Nita Klein), and her stepson Bernard (Jean-Baptiste Thierrée), who returned from the Algerian War.
Resnais opens the film audaciously, disorienting the audience with rapid cuts between numerous objects in Hélène’s apartment, symbolizing her cluttered mind.
While the editing becomes less aggressive, the film transitions into a more elusive form, presenting seemingly chronological scenes with disconnected events.
“Muriel” demands multiple viewings to appreciate the nuances Resnais employs in depicting the crushing effect of resurfaced memories. The film’s title carries weight, revealing a horrific memory tied to Bernard’s connection to the trauma of war.
Criterion’s Blu-ray release significantly improves clarity and detail compared to previous DVD releases.
Some color timing concerns have been noted, but the enhanced image quality makes it the best home video option.
The uncompressed mono soundtrack is serviceable, and archival supplements include excerpts from TV documentaries and interviews, along with a newly recorded interview with scholar François Thomas.
The insert essay by scholar James Quandt further enhances the viewer’s understanding of the film’s intricate ideas.
Mountains May Depart (2016) Kino Lorber
Renowned filmmaker Jia Zhangke, in his latest feature, “Mountains May Depart,” intricately weaves a narrative that spans time to depict the disintegration of a family.
The film’s triptych structure explores personal struggles in tandem with broader societal challenges, blending moving melodrama with occasional thematic tensions.
Jia’s captivating visuals, where the extraordinary intersects with the mundane, and Zhao Tao’s deeply introspective performance mitigate concerns about the film’s overt observations on capitalism.
As the storyline progresses, the pervasive influence of slick materialism becomes more pronounced, visually represented by a shift towards cooler and paler color tones.
The aspect ratios also widen, reflecting the evolving temporal settings: 1.33:1 for 1999, 1.85:1 for 2014, and 2.35:1 for 2025.
While “Mountains May Depart” doesn’t romanticize the past, an undeniable sense of nostalgia permeates the initial segment.
It delves into a love triangle involving Shen Tao (Zhao), coal miner Liangzi (Liang Jing Dong), and wealthy industrialist Zhang (Zhang Yi).
The film captures Shen Tao’s internal conflict and choices, portrayed convincingly by Zhao.
The narrative transitions to Shen Tao’s son, Dollar (Dong Zijian), in the final segment set in Melbourne.
While emotionally less acute, this part effectively conveys Jia’s concerns about relentless modernization, featuring a noteworthy performance by Sylvia Chang.
Kino’s Blu-ray transfer of “Mountains May Depart” is generally excellent, with vibrant colors and detailed visuals, although the 1.33:1 segment is slightly picture-boxed.
The 5.1 DTS-HD Master Audio soundtrack is subdued but dynamic in critical moments.
Extras include an informative Q&A with Jia at the New York Film Festival, a trailer, and a booklet featuring an essay by Aliza Ma, providing insights into Jia’s career and thematic continuity in his work.
Stuff and Dough (2001) Second Run
Cristi Puiu, a significant figure in the Romanian New Wave, gained prominence with his 2001 film “Stuff and Dough,” which is considered an early entry in the movement.
Released by Second Run, the DVD marks the film’s first availability on English-friendly home video.
Like many Romanian films, “Stuff and Dough” features a spare narrative, straightforward camerawork, and a dry, darkly comic tone that transitions into low-key suspense.
The road movie revolves around three characters on a seemingly mundane trip from a small town to Bucharest.
However, the boredom is disrupted by violent encounters as they realize menacing individuals are pursuing them.
The protagonist, Ovidiu, portrayed by Alexandru Papadopol, agrees to transport “medical supplies” for the shady Ivanov, played by Razvan Vasilescu.
Despite Ovidiu’s aspirations to leave his parent’s home, his lack of ambition becomes evident during a humorous early scene where Ivanov interrogates him about the trip.
While the initial humor diminishes, the film remains engaging due to the naturalistic performances of the cast.
The observations about aimless youth navigating a depressed economy may not be groundbreaking, but the film authentically captures a specific period in the country’s history.
Second Run’s DVD features a high-definition transfer approved by Puiu, accompanied by extras like Puiu’s 2004 short film “Cigarettes and Coffee. ”
The package also includes a booklet with an essay by critic Carmen Gray.
Crimes of Passion (1984) Arrow Video
“Crimes of Passion” stands out in Ken Russell’s filmography as a baffling cult item, but it’s just another movie for the daring British director.
Russell, known for pushing the limits of good taste, brings his steady directorial hand to balance the tonal shifts in Barry Sandler’s script.
The film stars Kathleen Turner as China Blue, a prostitute leading a double life as a fashion designer.
While the film’s domestic subplot may not match up to its main thrust, Russell skillfully ties it all together.
Following the contentious “Altered States” (1980), the film features Turner’s fascinating, exposed performance, with Anthony Perkins delivering a memorable turn as a sexually frenzied priest.
However, the film falters during scenes with John Laughlin and Annie Potts, where the script’s critiques of middle-class values lack vitality.
Arrow Video’s Blu-ray release, sourced from a new 2K restoration, presents the film in excellent quality, showcasing its vibrant colors.
The release includes both the uncut theatrical version and a slightly extended director’s cut.
On-disc extras feature interviews with screenwriter Sandler and composer Rick Wakeman, along with an archival commentary track, deleted scenes, an MTV music video, and the theatrical trailer.
Cemetery of Splendor (2016) Strand Releasing
In Apichatpong Weerasethakul’s latest film, “Cemetery of Splendor,” characters navigate between past and present, sleep and wakefulness, and the mortal coil and a higher plane.
While not a major departure for the Thai filmmaker, it marks a welcome return since his 2010 feature “Uncle Boonmee Who Can Recall His Past Lives.”
The film maintains a gently dreamlike atmosphere, with patient shots capturing the beauty of Khon Kaen, Weerasethakul’s hometown.
Jen tends to soldiers with a mysterious sleeping sickness, employing color therapy in the building that was once her childhood school.
The film seamlessly transitions between the real and the extra-real, blurring the lines between the earthly and the otherworldly.
The soldiers’ fate intertwines with an ancient burial ground beneath the hospital, creating a compelling narrative.
“Cemetery of Splendor” is both beguiling and grounded in simple pleasures, finding humor in everyday moments and embracing the earthly delights of life.
Strand Releasing’s Blu-ray release offers a luminous transfer, presenting the film’s naturalistic color palette with clarity and detail.
The extras include the hour-long feature “Mekong Hotel,” a making-of featurette, deleted scenes, and the theatrical trailer.
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Highly descriptive article, I liked that a lot. Will there be a part 2?
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