Leos Carax, Shirley Clarke, and Orson Welles are renowned directors who have significantly impacted the world of cinema through their distinctive storytelling and filmmaking styles. Each of these directors has left an indelible mark on the film industry, contributing timeless works that continue to inspire and captivate audiences.
Leos Carax is a French filmmaker known for his poetic and enigmatic approach to storytelling. His notable works include “Les Amants du Pont-Neuf” (The Lovers on the Bridge).
This visually stunning and emotionally resonant film portrays the tumultuous love story between two vagabonds against the backdrop of Paris.
Shirley Clarke was an American director recognized for pioneering independent and documentary filmmaking contributions.
One of her most celebrated works is “The Connection,” a groundbreaking film that blurs the lines between fiction and reality as it delves into the lives of jazz musicians and their struggles with addiction.
Orson Welles, a visionary filmmaker and actor, is revered for his innovative techniques and directorial prowess.
His iconic masterpiece “Citizen Kane” is widely regarded as one of the greatest films ever made, showcasing Welles’s unparalleled narrative structure and visual storytelling.
These directors have left an enduring legacy through their groundbreaking films, each contributing to the rich tapestry of cinematic history with their unique artistic visions and compelling storytelling.
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Blu-ray Review Round-Up: Boy Meets Girl (1984)
Leos Carax’s initial two films following the French New Wave era exhibit a profound fascination with the essence of cinema, drawing inspiration from silent films and the influential Jean-Luc Godard.
However, categorizing these films solely as tributes or dissecting their numerous references would overlook Carax’s distinct approach, characterized by his mesmerizing formal inventiveness and ability to capture enduring cinematic moments.
In both movies, the character Alex, portrayed by Denis Lavant, mirrors the filmmaker’s style.
Despite his resistance, Alex embodies a cynic who becomes entranced by unbridled romanticism.
Carax’s films depict a compelling juxtaposition of Lavant’s characters succumbing to romanticism amidst the filmmaker’s intricate and technical formal qualities.
In “Boy Meets Girl,” Alex grapples with the heartbreak of his girlfriend leaving him for his best friend.
Focused on experiencing firsts such as a first date, kiss, and even a first murder attempt, Alex appears detached from life’s repetitive routines. Nonetheless, his heart remains open to new experiences.
Upon developing an infatuation with a suicidal stranger, Alex becomes steadfast in his determination to connect with her, culminating in a poignant union of two troubled souls.
On a scale of Excellent, Good, Fair, and Poor, Carlotta Films US’ Boy Meets Girl Blu-ray rates:
The Film (out of ****): ****
Film Elements Sourced: ***1/2
Video Transfer: ***1/2
Audio: ***1/2
New Extra Features: **
Extra Features Overall: **
Mauvais Sang (1986)
In “Mauvais Sang,” the character Alex callously leaves his girlfriend, Lise, when he is recruited for a job by his late father’s associate, Marc.
However, his initially hardened demeanor crumbles in the presence of Anna, Marc’s girlfriend, leading to a compelling blend of a caper film and a poignant romance.
The Film is infused with emotion in every scene, with Leos Carax’s enigmatic compositions and moments of euphoria evoking a sense of intoxication through the medium of Film.
Although Carlotta Films’ new Blu-ray releases offer digital representations of the original films, the 1080p, 1.66:1 transfers, based on 2K restorations, exude a remarkably film-like quality, especially compared to the prior DVD transfers.
The visuals exhibit exceptional clarity and detail, with the black-and-white imagery of “Boy Meets Girl” possessing a lustrous quality and the bold, expressive colors of “Mauvais Sang” remaining vivid and stable.
Additionally, the lossless mono tracks on both releases deliver excellent sound quality, devoid of any extraneous noise or distortion.
The extras included in the Blu-ray releases enrich the viewing experience, featuring Lavant’s captivating screen test and outtakes from select scenes in “Boy Meets Girl,” along with a new trailer for the restoration.
“Mauvais Sang” also offers outtakes and deleted scenes, two trailers, and a bonus film – Tessa Louise Salomé’s well-received documentary on Carax, “Mr. X” (2014).
On a scale of Excellent, Good, Fair, and Poor, Carlotta Films US’ Mauvais Sang Blu-ray rates:
The Film (out of ****): ****
Film Elements Sourced: ****
Video Transfer: ****
Audio: ***1/2
New Extra Features: ***
Extra Features Overall: ***
Portrait of Jason (1967)
Milestone Films presents the second and third volumes of their Shirley Clarke series, following a successful Kickstarter campaign that enabled the restoration of “Portrait of Jason” from its original elements.
The result is a definitive release of Clarke’s captivating depiction of Jason Holliday, a house boy and hustler, as he shares his aspirations, vulnerabilities, and the daunting realities of being a gay black man in 1960s America.
As the Film unfolds, the concept of reality becomes increasingly fluid, with cracks emerging in Jason’s performance, prompting viewers to question the authenticity of his portrayal.
Despite moments of profound vulnerability, the Film challenges the audience to discern the truth within the narrative, blurring the lines between reality and performance.
Clarke’s intrusive camera work seemingly presents unfiltered truth, yet the documentary compels viewers to contemplate the potential deception within the form and the subject.
Additionally, “Ornette: Made in America” offers a more traditional documentary portrait, albeit within the context of Ornette Coleman’s innovative free jazz style, mirroring Clarke’s distinct, fragmented multimedia approach.
The Film captures the legendary musician’s boundary-breaking artistry, aligning with Clarke’s unconventional and dynamic filmmaking style.
On a scale of Excellent, Good, Fair, and Poor, Milestone Films’ Portrait of Jason Blu-ray rates:
The Film (out of ****): ***1/2
Film Elements Sourced: ***1/2
Video Transfer: ****
Audio: ***1/2
New Extra Features: ****
Extra Features Overall: ****
Ornette: Made in America (1985)
Beneath its energetic exterior, “Ornette: Made in America” delves into the narrative of yet another outsider and his intricate relationship with the United States.
Clarke skillfully captures Coleman’s childhood through recreated flashbacks with actors.
Still, the Film’s impact is most notably evident in authentic footage, such as the comical scene featuring the Fort Worth mayor awkwardly presenting Coleman with a key to the city, requiring no additional commentary from Clarke to underscore its irony.
Interwoven with remarkable footage of Coleman’s performances, the documentary explores his associations with various figures, including William S. Burroughs and Buckminster Fuller.
The resulting portrait of the artist, while not attempting to be exhaustive, feels substantial due to the Film’s intelligently scattered approach, providing a compelling glimpse into Coleman’s life and career.
The 1080p, 1.33:1 transfer of “Portrait of Jason” delivers a restoration that fulfills expectations, faithfully replicating the theatrical presentation.
The 16mm images exhibit rich detail, prominent grain, and excellent contrast, with minimal damage that enhances the film-like quality of the transfer.
Similarly, the 1080p, 1.66:1 transfer of “Ornette” maintains a film-like quality despite the varied sources, although the visual impact is slightly diminished due to soft or faded details and colors.
The mono track for “Jason” offers pristine audio quality, while “Ornette” features a 2.0 DTS-HD Master Audio track that effectively showcases Coleman’s music.
The milestone includes an extensive array of extras for each release.
“Portrait of Jason” encompasses various outtakes, interviews with Clarke, a short film, a restoration demonstration, and a detailed featurette chronicling Milestone’s exhaustive search for surviving elements.
Meanwhile, the “Ornette” disc features interviews with Clarke, Coleman’s son Denardo, Clarke’s tribute to Felix the Cat, a trailer, and a booklet containing notes from producer Kathelin Hoffman Gray.
On a scale of Excellent, Good, Fair, and Poor, Milestone Films’ Ornette: Made in America Blu-ray rates:
The Film (out of ****): ***
Film Elements Sourced: **1/2
Video Transfer: ***
Audio: ***
New Extra Features: **1/2
Extra Features Overall: **1/2
F for Fake (1975)
Indeed, it is regrettable that Orson Welles faced challenges in realizing several projects during the final phase of his life.
However, the last fully developed Film he left behind is a remarkable conclusion to his illustrious directorial career.
The playful and mischievous nature of “F for Fake” is a testament to Welles’ fascination with unraveling the complexities of art and filmmaking, continually prompting the audience to question the inherently illusory aspects of these creative pursuits.
Comprising three distinct segments that delve into the world of the renowned art forger Elmy de Hory and his biographer Clifford Irving.
In a fanciful narrative involving Welles’ girlfriend, Oja Kodar, and counterfeit Picassos, Welles, acting as the narrator, skillfully examines the nature of truth with the expertise of a master illusionist.
While formally audacious essay films are often perceived as challenging, Welles assumes the role of an impishly genial host, ensuring that “F for Fake” remains intellectually engaging and thoroughly entertaining.
Criterion has enhanced its 2005 DVD release with a visually impressive Blu-ray edition.
The 1080p, 1.66:1 transfer offers enhanced clarity and color consistency to the Film’s archival material, particularly shining in the newly shot sequences, which exhibit immaculate sharpness and impressive detail.
The uncompressed mono soundtrack maintains a clean and crisp quality across various sources.
The exceptional array of supplemental features from the DVD release has been seamlessly transitioned to high definition.
These include the indispensable “Orson Welles: One-Man Band,” exploring his legacy and unfinished projects, “Almost True: The Noble Art of Forgery,” an in-depth examination of de Hory, and interviews with Welles, Irving, and Howard Hughes.
Additionally, the package encompasses Welles’ original 10-minute trailer, featuring footage predominantly unseen in the Film and an insert containing an essay by Jonathan Rosenbaum.
On a scale of Excellent, Good, Fair, and Poor, Criterion’s F for Fake Blu-ray rates:
The Film (out of ****): ****
Film Elements Sourced: ***1/2
Video Transfer: ***1/2
Audio: ***1/2
New Extra Features: N/A
Extra Features Overall: ****
Los Angeles Plays Itself (2003)
Thom Andersen’s “Los Angeles Plays Itself” is a captivating and thought-provoking essay film that artfully weaves together numerous film clips to explore the multifaceted identity of Los Angeles as portrayed on screen.
Andersen’s meticulously crafted amalgamation of clips, guided by the subtly sardonic narration of Encke King, offers a deeply personal and occasionally critical perspective on the city’s cinematic representations.
Andersen’s discerning observations, complemented by the Film’s meticulously paced editing, infuse the narrative with compelling energy, delving into the misrepresentations of Los Angeles’s geography and architecture in films.
The documentary’s final section thoroughly examines the cultural and anthropological implications of the Film, delivering a potent and enlightening culmination.
Over the past decade, “Los Angeles Plays Itself” has been challenging to access, primarily due to potential copyright issues.
Cinema Guild’s Blu-ray release is an exceptional offering, featuring a 1080p transfer showcasing a remarkable visual quality.
Despite the varied sources of film clips, the recent remastering has significantly enhanced the picture quality, resulting in excellent color reproduction, finely rendered film grain, and enhanced detail.
The 2.0 DTS-HD Master Audio soundtrack adeptly handles the diverse material included in the Film.
Additionally, the release includes extras such as “The Tony Longo Trilogy” (2014), a short film by Andersen, a trailer, and a booklet featuring an essay by Mike Davis and notes by Andersen detailing the small changes made to this remastered cut.
On a scale of Excellent, Good, Fair, and Poor, Cinema Guild’s Los Angeles Plays Itself Blu-ray rates:
The Film (out of ****): ****
Film Elements Sourced: ***
Video Transfer: ****
Audio: ***
New Extra Features: **
Extra Features Overall: **
Bill Morrison: Collected Works (1996 to 2013)
In Icarus Films’ comprehensive five-disc collection of Bill Morrison’s work, the filmmaker showcases his adeptness as a curator of archival footage and a visionary avant-garde artist.
This anthology features three previous releases from Icarus Films, alongside two new discs highlighting “Spark of Being” (2010) and “Highwater Trilogy” (2006).
Offering a re-imagination of Mary Shelley’s “Frankenstein” and meditations on environmental destruction using partially damaged footage, respectively.
Morrison’s distinctive aesthetic heavily incorporates warped and decaying celluloid, prominently featured in the evocative elegy for the Film, “Decasia” (2002).
The enthralling portrayal of roiling emulsion and nitrate degradation transforms seemingly mundane scenes into urgent visual experiences, captivating viewers with their transience and poignancy.
While some of Morrison’s other feature-length works, such as “The Miners’ Hymns” (2011) and “The Great Flood” (2013), may appear somewhat repetitive and thematically heavy-handed in their exploration of disaffected or displaced communities.
The 1080p, 1.33:1 transfer of “Decasia” provides a tactile, cinematic experience that surpasses the standard-def, 1.33:1 presentations of the other films.
Although DVD discs may not replicate the same level of visual quality, they still offer satisfactory presentations.
While the set lacks on-disc extras, it includes a booklet featuring several essays and an interview with Morrison, enriching the viewer’s understanding and appreciation of the filmmaker’s compelling body of work.
On a scale of Excellent, Good, Fair, and Poor, Icarus Films’ Bill Morrison: Collected Works rates:
The Films (out of ****): ***
Film Elements Sourced: ***
Video Transfer: ***
Audio: **1/2
New Extra Features: 1/2
Extra Features Overall: 1/2
Two by Ken Loach: Riff-Raff (1991) and Raining Stones (1993)
When watching a film by Ken Loach, known for chronicling English working-class life, one generally anticipates a portrayal of desperate situations as depressingly ordinary.
Twilight Time presents an unexpected yet appreciated Blu-ray set featuring two of the filmmaker’s advocacy dramas, “Riff-Raff” and “Raining Stones.”
“Riff-Raff” captures the evolving relationship between construction worker Stevie and aspiring singer Susan while also shedding light on the unsafe working conditions of Stevie’s construction crew.
On the other hand, “Raining Stones” focuses on the personal plight of Bob, who, despite unemployment and financial instability, endeavors to purchase a new dress for his daughter’s first communion.
Both films blend unvarnished character portrayals, didacticism, and slapstick comedy, creating an intriguing viewing experience.
Twilight Time’s single-disc presentation offers “Riff-Raff” in 1080p, 1.33:1 transfer and “Raining Stones” in 1080p, 1.66:1 transfer.
The 16mm source of “Riff-Raff” contributes to a rougher, grainier look, while “Raining Stones” exhibits excellent detail despite the subdued imagery.
The DTS-HD mono and 2.0 tracks provide clean, dialogue-heavy audio, although the absence of subtitles for the variety of dialects and accents is regrettable.
The disc includes isolated music and effects tracks, as well as a booklet featuring an essay by Julie Kirgo.
On a scale of Excellent, Good, Fair, and Poor, Twilight Time’s Two by Ken Loach Blu-ray rates:
The Films (out of ****): **1/2
Film Elements Sourced: ***
Video Transfer: ***
Audio: **1/2
New Extra Features: 1/2
Extra Features Overall: 1/2
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