Here, we will uncover the Blu-ray review of some late renowned directors’ films that hit Billboard at their time. Scroll till the end to find out the most hit movies of their time.
Exploring the realms of independent cinema reveals a trio of auteurs, each carving their own distinct path in the world of filmmaking.
Kelly Reichardt is known for her nuanced and quietly powerful examinations of human connections against the backdrop of the American landscape.
Hong Sangsoo is a South Korean maestro weaving intricate tales of love, relationships, and human follies with a touch of playful experimentation.
Bill Gunn is a trailblazing figure whose visionary work has left an indelible mark on cinema.
As we delve into the diverse filmographies of Reichardt, Hong, and Gunn, we uncover a tapestry of storytelling that transcends boundaries, offering unique perspectives and challenging the conventional norms of narrative cinema.
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Blu-Ray Review Wendy and Lucy (2008) Oscilloscope Laboratories
In Kelly Reichardt’s seminal work, “Wendy and Lucy,” a pivotal scene unfolds as Michelle Williams’ character, Wendy, finds herself confronted by a self-righteous teenager in an Oregon grocery store.
Attempting to shoplift cans of barf diet for her dog, Lucy, Wendy is dragged to the manager’s office, where the teenager declares, “The rules apply to everyone equally.”
Reichardt, arguably one of the greatest contemporary American filmmakers, skillfully captures Williams’ hardened gaze, revealing a moment of incredulity at this assertion.
“Wendy and Lucy” is a poignant portrayal of working-class disillusionment in America, depicting life on the fringes through Reichardt’s evocative imagery of gas-station bathrooms, desolate parking lots, and a quieted port town.
Amidst the bleakness, moments of beauty emerge—a stranger’s spontaneous kindness or the unwavering companionship of a dog, embodied by Lucy, Reichardt’s own canine.
Through her keen eye for unexpected compositions, Reichardt exposes the peculiarities within ordinary existence and the hidden inner turmoil beneath seemingly placid surfaces.
While Reichardt’s recent film, “Certain Women,” showcases remarkable performances, it is Williams, with her ability to unveil an inner life through subtle gestures, who proves to be Reichardt’s ideal collaborator.
Far from being a small film, “Wendy and Lucy” unfolds as an expansive narrative, where each character movement and every shot of the Pacific Northwest terrain contribute to a devastating emotional climax.
After regretting not acquiring Soda’s UK Reichardt Blu-ray box set before it went out of print, there’s a sense of gratitude for Oscilloscope’s decision to upgrade “Wendy and Lucy.”
The 1080p, 1.78:1 transfer proves highly satisfying, notably enhancing the handling of 16mm grain compared to the DVD release.
The grain looks natural and well-supported, while colors exhibit accuracy, and clarity is commendable.
The 5.1 DTS-HD Master Audio soundtrack is excellent. While the absence of retrospective extras for a film of this significance is notable, there are no new additions from the DVD.
However, the inclusion of experimental films by Reichardt’s colleagues from Bard College remains an intriguing and valuable bonus feature.
Personal Problems (1980-1981) Kino Lorber
“Personal Problems,” a captivating work of collaboration and experimentation, is heralded as a milestone in Black independent filmmaking.
Recently restored by Kino, this two-part film/television hybrid was created by Ishmael Reed, Steve Cannon, and director Bill Gunn.
Offers a nuanced glimpse into the life of a Harlem family led by the dynamic Johnnie Mae (Vertamae Grosvenor), an emergency room nurse.
The project comprises a direct-to-camera address, domestic conflicts, musical interludes, nature scenes, gossip, and a spectrum of human emotions, creating a multifaceted narrative.
The video format, with its inherent smearing, provides a blend of verité-like realism and an otherworldly atmosphere.
In the first part, Johnnie Mae navigates a love triangle, portrayed with memorable performances. The film defies traditional soap-opera conventions, with part two narrowing its focus during a wake scene.
While some may yearn for the initial diffuse approach, “Personal Problems” remains unconventional, sidestepping narrative norms.
Kino’s Blu-ray, limited by the 3/4″ U-matic tape used for filming, presents a relatively straightforward image, embracing the intentional features.
The disc includes preliminary video and radio versions, deleted scenes, cast and crew interviews, a restoration premiere Q&A, and a booklet featuring essays by Reed and Nicholas Forster.
A Matter of Life and Death (1946) Criterion Collection
Before delving into the new Criterion release, I held a somewhat underrated perception of “A Matter of Life and Death” in the Powell and Pressburger canon, placing it in the mid-lower tier.
However, upon revisiting the film, my previous assessment proved woefully misguided.
The impact of the new 4K restoration, particularly the vibrant three-strip Technicolor, certainly played a role, enhancing the film’s visual splendor.
“A Matter of Life and Death” reveals itself as a flawless masterpiece, a fantasy that celebrates life’s most exuberant pleasures through earthly delights.
The ingenious inversion of color, where heaven is depicted in black and white, adds a brilliant layer to the narrative.
The story unfolds as WWII RAF pilot Peter Carter miraculously survives a jump from his burning plane, entering what seems like a beachfront heaven.
Mistakenly believing he died, Peter embraces the chance to pursue a romance with June, the American radio operator he fell for during his presumed final moments.
The film seamlessly transitions between a joyous love story and a celestial courtroom drama, serving as a metaphor for international relations.
The Blu-ray review presentation of the 4K restoration by Criterion is nothing short of remarkable, delivering exceptional depth, vibrant color, and pristine images.
The restoration successfully rectifies color inconsistencies present in previous releases. The uncompressed mono soundtrack is exceptionally clean.
Criterion’s release includes valuable extras, such as an audio commentary by Ian Christie, a Martin Scorsese introduction, and interviews with Thelma Schoonmaker.
Others include a featurette on visual effects, a 1986 episode of The South Bank Show featuring Powell, a short documentary on Jack Cardiff’s career, a restoration demonstration, and an essay by critic Stephanie Zacharek in the insert. Overall, it is a stunning disc for an equally stunning film.
Rocco and His Brothers (1960) Milestone Films
Is Luchino Visconti’s “Rocco and His Brothers” a product of neorealism or melodrama?
While it resides at the intersection of these two genres, the film’s true brilliance lies in its emotionally charged moments.
Despite depicting the struggles of working-class lives, Visconti infuses the narrative with an operatic intensity reminiscent of his portrayals of aristocratic life in “Senso” and “The Leopard.”
The apparent structural order, with each of the five brothers receiving a delineated section, conceals the film’s sprawling complexity, a quality that Visconti embraces.
The fractures within the country play out on a smaller scale as the family relocates from southern to northern Italy, particularly focusing on the clashes between brothers Simone (Renato Salvatori) and Rocco (Alain Delon).
Their differences in disposition, with Simone’s pugilistic nature contrasting Rocco’s sensitivity, fuel conflicts, especially regarding their shared interest in Nadia (Annie Girardot).
While Simone’s actions are more overtly egregious, Rocco’s attempts to play the savior may not necessarily be better for Nadia or the family at large.
Amidst their struggles to meet the expectations of their religious and domineering mother (Katina Paxinou), it is Rocco who shoulders the most significant burden, setting himself up for potential failure.
Visconti expertly raises the stakes, with each minor disappointment or fit of rage acting as a precursor to the ultimate tragedy.
This tragedy, both profoundly personal and emblematic of postwar Italy’s violent cultural and class shifts, blurs the lines between melodrama and neorealism.
Milestone’s Blu-ray release, derived from the same 4K restoration as the earlier UK Masters of Cinema version, offers a mostly excellent 1080p, 1.85:1 transfer.
Despite occasional inconsistencies in image density and clarity due to the condition of the elements, the restoration effectively minimizes damage.
The film looks impressive overall, complemented by solid 2.0 uncompressed mono audio, considering the expected limitations of Italian post-sync dubbing.
The nearly three-hour film receives its own disc, shared with Martin Scorsese’s introduction.
In contrast, the second disc features a new interview with Caterina d’Amico, archival cast and crew interviews, outtakes, and a restoration demonstration.
Two Films by Hong Sangsoo: Woman is the Future of Man (2004) and Tale of Cinema (2005) Arrow Academy
Staying updated or catching up with the works of South Korean filmmaker Hong Sangsoo can be challenging due to his prolific output and the limited availability of quality English-friendly versions of his early films.
Arrow addresses this by releasing a two-disc set featuring upgraded Blu-ray versions of two of Hong’s early works for the US and UK audiences.
The paired films “Woman is the Future of Man” and “Tale of Cinema” share thematic echoes, particularly in exploring misogyny through mirror images of two men.
In the former, Hong takes a blunt and acrid approach as two friends, Lee Munho and Kim Hyeongon, discover they dated the same woman, Park Seonhwa.
As they reunite and seek out Seonhwa, their fundamental similarities become more apparent.
“Tale of Cinema” takes a more melancholic and enigmatic tone, following the emotionally damaged Jeon Sangwon and his interactions with Choi Youngshil.
The film introduces a metafictional twist and a new character, Kim Dongsoo, providing Hong with an avenue to examine the divide between film and real life.
The Arrow release features two solid 1080p, 1.85:1 transfers, with visuals occasionally appearing flat but maintaining strong clarity and sharpness.
Both films offer 2.0 and 5.1 DTS-HD tracks, ensuring clean and dialogue-focused presentations.
Extras include introductions by Tony Rayns and Martin Scorsese, a making-of for “Woman is the Future of Man,” and cast interviews for both films.
The set also includes trailers, galleries, and a booklet featuring an essay by critic Michael Sicinski.
Black Peter (Černý Petr, 1964) Second Run
Miloš Forman’s first feature film, “Black Peter,” is a modest yet delightful debut that exhibits a gentler satirical tone compared to his later Czech works.
The film offers numerous pleasures, from its wry portrayal of the frustrations of teenage life to the sense of unpredictability in the protagonist’s aimless journey.
While it might be a stretch to label “Black Peter” as entirely unpredictable, the narrative takes unexpected turns, keeping the audience engaged.
The story revolves around the sullen Petr, portrayed by Ladislav Jakim, who, after suspecting a customer of shoplifting, could potentially lead the film in various directions.
However, the episodic structure unfolds as Petr navigates challenges at work, attempts to woo an acquaintance’s girlfriend, and contends with social dynamics among teenagers.
Forman’s signature exploration of generational disconnect is evident, particularly in Petr’s strained relationship with his imperious father, played by Jan Vostrčil, culminating in a defiant freeze-framed conclusion.
Second Run’s region-free Blu-ray significantly improves upon the previous Facets DVD, courtesy of the Czech National Film Archive’s 4K restoration.
The 1080p, 1.37:1 transfer boasts excellent depth and fine detail, with minimal softness in a few shots.
Occasional instances of damage are limited. The 2.0 uncompressed mono soundtrack is characterized by its cleanliness and clarity.
The Blu-ray includes valuable extras such as a detailed audio commentary by Michael Brooke, a new interview with Pavla Martínková, and an archival interview with Forman discussing the film’s production.
The accompanying booklet features an essay by Jonathan Owen on Forman and “Black Peter.”
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