In fact, this black-and-white London suggests something like the progenitor of that realm, as Lynch shows the rising industrial age to be a fount of quick and easy miracles—gas lanterns and machines that enable mass factory work and around-the-clock amusements—that lend themselves to pollution, workplace drudgery, violence, and casual alienation. And while Bramble emerges as the film’s protagonist—as he assumes the identity of the hotel’s deceased, club-footed waiter, Davos, only to learn that the man was also a German spy—it’s von Stroheim who steals every scene he’s in. The monaural soundtrack is generally detailed and healthy, particularly supporting the many subtle diegetic sounds that establish the drudgery of the prison’s work details, such as the machine pressing factory and the drain pipe. There could stand to be a bit more grain, as the picture occasionally looks a bit too cleaned up, but the distribution is even. Radio spots, a piece on Merrick’s real life, and a booklet—featuring passages from Chris Rodley’s book Lynch on Lynch and an 1886 letter to the London Times concerning Merrick—round out a sturdy package. © 1996-2020, Amazon.com, Inc. or its affiliates. The disc also comes with the option to listen to the track with Japanese narration or with one of two English narration tracks, including the original theatrical recording of Roy Scheider. There is something uniquely powerful in that choice, and that Mishima makes it makes him a fascinating subject.
The indomitable mystique of Audrey Hepburn captured international attention almost immediately following the release of William Wyler’s Roman Holiday. Networks of neighbors and friends have played a key role in all of his films since he began to document the residents of Lisbon’s now-razed Fontainhas shantytown, but arguably the presence of community has never before been felt so strongly in Costa’s work. Alcaff), a freedom fighter who finds coming home difficult, both psychologically and practically, in the wake of the Indonesian National Revolution.
With its rich cinematography by John Bailey, exquisite sets and costumes by Eiko Ishioka, and unforgettable, highly influential score by Philip Glass, MISHIMA: A LIFE IN FOUR CHAPTERS is a tribute to its subject and a bold, investigative work of art in its own right. It’s a narrative conceit that has been done before and since, but rarely does it pack both the symbolic logic and narrative punch that closes The Holy Mountain. The extras are composed mostly of archive material ranging from the 1980s to the early 2000s, including various interviews over the years with actor John Hurt, producer Jonathan Sanger, make-up artist Christopher Tucker, producer Mel Brooks, cinematographer Freddie Francis, and stills photographer Frank Connor. Ismail convincingly probes how colonial rule worms its way into the minds of the colonized by allowing the characters to emerge (they seem to linger in the foreground often) as embodiments of emotions that otherwise seem to remain suppressed within the country’s postcolonial milieu. The film’s first image, of an alleyway lined by looming stone walls, cross-shaped gravestones dotting the upper right wall as a funeral procession silently emerges from the background shadows, renders a real street as a kind of military trench.
Disc two kicks off with a great set of interviews with Bailey, Glass, and Ishioka, who all revere their work here, and offer great insights into their working process (44 min.
This segment also contains tantalizing descriptions of one of Lynch’s most famous unrealized screenplays, Ronnie Rocket. (Dassin was blacklisted in 1949 during the production of Night and the City.).
The Holy Mountain has both English Master Audio mono and surround tracks, both of which do well by the outlandish psych score from Jodorowsky and Don Cherry. A fictionalized account in four chapters of the life of celebrated Japanese author Yukio Mishima.
The cultural history represented by the temple terrifies the immature, repressed Mizoguchi, but that fear of Japan’s history has morphed into fascistic protectiveness of it in Schrader’s adaptation of Mishima’s later novel Runaway Horses. Italy’s kowtowing to the Hitler is mirrored in the buffoonish, opera-singing General Sebastiano (Fortunio Bonanova), a mistreated guest of the Germans, while the Arabs of North Africa are signified by the skittish hotel manager, Farid (Akim Tamiroff). The transfer is a bona fide feast of visual details, from the slums of old East London to the fine clothes and accessories of the wealthy.
Midway through Paul Schrader’s Cat People, a panning shot catches a pile of books on a nightstand.One was a biography of Yukio Mishima, one of Japan’s best–and most notorious writers. And in contrast to the film’s opening, it’s Joe who must keep up appearances, fighting to keep his feelings in check as he bids the princess adieu. We can draw what conclusions we want, though obviously the stories are chosen on purpose to illustrate aspects of Mishima. Love Me Tonight still stands as a definitive musical because, aside from the filmmaking wonders Mamoulian conjured, it conveys one universal truth to the musical genre: that there’s no better motivation for breaking out into song than to express sexual satisfaction. El Topo comes with both Spanish Master Audio mono and surround (as well as the aforementioned English dub in Master Audio mono). The shot looks like something out of a post-World War I silent film, epitomizing Costa’s uncanny ability to balance realism and stylization. Our payment security system encrypts your information during transmission.
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