Lost in Criterion

Spine 58: Peeping Tom

Peeping Tom is a dark thriller about a young man with daddy-issues. It came out 6 months before Psycho. Everyone hated it. We don't.

Spine 57: Charade

"The best Hitchcock movie that Hitchcock never made" according to unciteable sources.

Spine 56: The 39 Steps

Hands down the best film with an autogyro. Well, except for The Rocketeer.

Spine 55: The Unbearable Lightness of Being

"Unfilmable" novels still get filmed. Unfilmable novels are still unfilmable. Lost in Criterion explores The Unbearable Lightness of Being.

Spine 54: For All Mankind

Al Reinert's 1989 documentary made of NASA's own footage of the Apollo missions is raw and exciting and wonderful.

Spine 53: Sanjuro

Donovan and Mifune and Kurosawa back one more time.

Spine 52: Yojimbo

Donovan's back to talk about Kurosawa's Yojimbo with us. It's a fun conversation as always.

Holiday Special 2: Die Harder

Donovan, Stephen, Andrew Tobias, and Wrion Bowling gather around our hearts and hearths to talk Die Harder.

Spine 51: Brazil

Gilliam's 1985 version of 1984 is a bit fatalistic, but stilll fun.

Spine 50: And the Ship Sails On

And the Ship Sails On is a tribute to film's artificiality and an 80-year late critique of European culture pre-WWI.

Spine 49: Nights of Cabiria

We're joined again by Stephen Goldmeier for Fellini's 1957 delight: Nights of Cabiria.

spine 48: Black Orpheus

Black Orpheus is Marcel Camus' ode to Greek myth with a bossa nova beat. It's also a beautiful film.

Spine 47: Insomnia

Stephen Goldmeier joins Lost in Criterion once more to discuss Erik Skjoldbjærg's 1997 debut Insomnia and the problems with subtitles in multi-lingual works.

Spine 46: The Most Dangerous Game

Stephen Goldmeier joins us once again to discuss the b-side to King Kong, 1932's The Most Dangerous Game

Spine 45: Taste of Cherry

Abbas Kiarostami's Tate of Cherry (1997) is probably one of the more famour films to come out of Iran. That doesn't mean Pat or Adam had ever heard of it.

Spine 44: The Red Shoes

You can tell this films a fantasy because it opens with people excited to watch ballet.

Spine 43: Lord of the Flies

Peter Brook's 1963 adaptation of the classic novel about a bunch of boys lost on an island who slowly kill each other because that's how humanity works, apparently?

Spine 42: Fishing with John

John Lurie's hilariously surreal fishing show from 1992. Why it's in the Criterion Collection, no man can say, but we're glad it is.

Spine 41: Henry V

Laurence Olivier's 1944 propagandist (at the behest of Churchill himself) adaptation of Henry V is not only Olivier's first film directorial, it's also the first time in film history that an adaptation of one of Shakespeare's plays actually made money. It was nominated for four Academy Awards but only managed to garner Olivier an Honorary Oscar for "for his outstanding achievement as actor, producer and director in bringing Henry V to the screen." Honorary Oscars are, as you know, even more masturbatory than real Oscars, though that doesn't lessen Olivier's feat here. It's a fine production with a lot of smart choices behind it. If only Pat and Adam could make it through a Shakespearean History without losing focus.

Spine 40: Armageddon

It's the episode you've all been waiting for. Since we made it through Pasolin's Salo this was the next film of dread albeit for (thankfully) different reasons. But still dread nevertheless.

Armageddon is Michael Bay's 1998 sophomore work that challenges our understanding of what The Criterion Collection is actually collecting. We come up some good justifications with this week's special guest Stephen Goldmeier. We also complain a lot. Because there is so much to complain about. So very much.

Bewilderingly Armageddon was nominated for four Academy Awards and won two Saturn Awards (including tying for Dark City for Best Sci-Fi Film). Less bewilderingly it was nominated for seven Razzies, though only won one. 

Spine 39: Tokyo Drifter

Seijun Suzuki's 1966 film Tokyo Drifter is more comprehensible than Branded to Kill -- it does actually have a discernible plot for most of the film --  but barely -- there's an extended fight scene that plays like a Merry Melodies short. The studio didn't like this one either. While Tokyo Drifter didn't lead directly to Suzuki's firing, it did get his color film privileges revoked, which is why the later Branded to Kill is in black and white while Tokyo Drifter has, quite honestly, a really excellent integration of color and non-color footage.

Spine 38: Branded to Kill

Seijun Suzuki's Branded to Kill (as well as next week's film, Tokyo Drifter) is a B movie Yakuza film from a guy who could make a B movie Yakuza film in his sleep who wanted to do something different. Released in 1967 Branded to Kill led directly to Suzuki being fired for turning in a completely "incomprehensible" film. Considering that Suzuki is a director who doesn't believe there's even such a thing as "film grammar", on it's surface the studio's criticism may have a point. After viewing Branded to Kill it's obvious that they do. It's also obvious why this film is cited as influential by John Woo, Quentin Tarantino, Park Jan-wook, and Jim Jarmusch.

It's a mess.

But it's a fun mess.

Spine 37: Time Bandits

Terry Gilliam's 1981 fantasy film Time Bandits is a polarizing film, it seems. If you experience it at a time when you can relate to the main character, a put-upon boy with a Roald Dahl-ian family life, it may be your favorite movie of all time. Elsewise, well, you may not like it at all. It's a movie that is successfully written (and often physically shot) from the point of view of its young protagonist, running on child-logic and attacking some pretty big questions as best a child can -- Kevin asks the Supreme Being why evil exists and is told "I think it has something to do with free will." Of course it's also a Terry Gilliam film, so maybe that's why some people just don't like it.

Spine 36: The Wages of Fear

Henri-Georges Clouzot's The Wages of Fear (1953), only serves to hammer home the fact that he had a better hand for suspense than Hitchcock. The Wages of Fear manages to be one of the most suspenseful films in history without being anything close to a murder mystery or spy thriller or horror film. Take the explosive threat that drives the suspense in the opening scene of Touch of Evil and expand to two hours, keeping it the background terror of a deep character study on the various ways fear takes its toll on man. As Bosley Crowther said in his New York Times review on the movies initial release: "You sit there waiting for the theater to explode."

Spine 35: Diabolique

Henri-Georges Clouzot has been called the French Alfred Hitchcock, which is really just a Anglo-centric way of saying that if Clouzot had been working in English he'd be more popular (in general? or more than Hitchcock? Yes). We've got two of his best movies in a row starting this week with Diabolique (1955) based on a novel by Pierre Boileau. It's said that Clouzot bought the rights to the novel mere hours before Hitchcock arrived for the same. As a consolation, Hitchcock bought another Boileau novel about a former detective with a fear of heights and his investigation of a woman who should be dead. Vertigo, masterwork that it is, and Psycho, which borrows a bit from Diabolique, don't quite achieve what Clouzot does here.