Posts Tagged ‘Criterion Collection’

DVD Review: A Second Look at “Gomorrah”

The Criterion Collection has an agreement with IFC Films to put some of its more noteworthy acquisitions on DVD, and so we have Matteo Garrone’s outstanding Gomorrah. I reviewed the film back in March. Earlier this year I didn’t feel ready to commit to a proper Top 10 list for films released in 2008, but having seen just about everything worthwhile since then, I’d certainly slot in Gomorrah.

Gomorrah is frightening in the best sense: Moral,” I wrote. Garrone’s adaptation of a searing bestseller leaves the capos and capers behind to concentrate on how syndicate control pervades Italian society at every level, and reaches outward. It tells five stories of pitiless corruption, with the only exposition coming afterwards. I likened it to a “waking nightmare” for the middlemen, workers, and impressionable kids caught in the crossfire, and I left the theater uneasy.

The film comes to DVD in a standard two-disc package or as a Blu-ray. In standard format the first disc is dedicated to the movie, with a new HD digital transfer that squeezes every seamy drop of life from Marco Onorato’s widescreen framing, a theatrical trailer, and new subtitles. Complementing the feature is a thorough booklet essay by Chuck Stephens that explores the history of the Camorra system, the seismic impact of the book (whose author, Roberto Saviano, has been obliged to live under police protection since its publication), and how Garrone makes use of Neapolitan architecture and plays off the works of Federico Fellini, Francesco Rosi, and Michelangelo Antonioni. (more…)

DVD Review: Robert Redford in “Downhill Racer”

After a more than a decade in Hollywood 33-year-old Robert Redford broke through as a major star in 1969’s smash hit Butch Cassidy and the Sundance Kid. But he had two other key roles that year. One was in Tell Them Willie Boy is Here, a Western whose social consciousness is embedded in his multi-hyphenate career. The other, Downhill Racer, defines a facet of his screen personality, and has received the Criterion Collection treatment on standard DVD.

Outside of Butch Cassidy and The Sting, Redford has always been one of the most introspective stars—not for him the more declarative, chest-beating style of Robert De Niro, Al Pacino, Jack Nicholson, or other actors of his remarkable generation. He’s inwards, not outwards. Cautious—and, in the eyes of some critics, vague, or timid. (Brad Pitt, the star of Redford’s A River Runs Through It and co-star in Spy Game, was once called “the new Robert Redford,” but it’s as difficult to imagine Redford appearing in True Romance, Twelve Monkeys, and Inglourious Basterds as it is thinking of Pitt for The Way We Were, The Great Gatsby, or Out of Africa.) But these qualities are all pluses for the character of skier David Chappellet, who takes his place on the U.S. Ski Team, but is far from a team player.

Truth is, the close-to-unlikable Chappellet is a bit of a prick, whose dedication to his ego rivals his commitment to his sport. As the team heads to Europe he’s thoughtless to his teammates, and the women who drift through his life (principally Camilla Sparv, who in real life was a former wife of Paramount Pictures chief Robert Evans, and in this film is a challenge to any athlete’s “self-denial”). The head coach, well-played as always by Gene Hackman, is irritated by his attitude, as he tries to keep the team together and rattles his tin cup looking for funding. Plot is minimal in a script written by novelist James Salter—the only hint we get at what drives, and also deforms, the restless, self-defensive Chappellet is a tense visit with his father (non-professional Walter Stroud), a flinty Coloradoan who grouses that he doesn’t get the point of winning without compensation. (more…)

DVD Review: “Jeanne Dielman,” a Woman Out of Time

A 201-minute Belgian film described as a “domestic 2001” could inspire reams of pretentious criticism, but I found Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) pretty easy to relate to. Dielman, a widow, lives a narrow, routine-dominated existence, given over entirely to domestic tasks and responsibilities, which over the course of three days we observe in real time. She makes the beds, cooks the meals for her and her mopey teenage son (whose questions about his father and other niggling subjects she deflects), minds a neighbor’s baby, and does the shopping. Between 5-5:30pm she turns a trick, to keep the finances afloat. One day, she finds herself with a free hour, with nothing to due but ruminate—and her carefully regimented life crumbles.

As a stay-at-home dad with various tasks to complete on any given weekday, Jeanne, I hear you. (I prostitute myself by writing DVD reviews). How things change; I was in no way the target audience when the film premiered. Directed by the 25-year-old Chantal Akerman, Jeanne Dielman was written by Danae Maroulacou, produced by Evelyne Paul and Corinne Jenart, edited by Patricia Canino, photographed (strikingly, in the unforgivably tight spaces of Dielman’s apartment) by Babette Mangolte…80 percent of the crew were women, at a time when the film industry was almost exclusively male. The star, Delphine Seyrig (from Last Year at Marienbad, which bends time and space in different ways), was an ardent feminist, committed to exploring the life and contradictions of the non-working woman. I doubt anyone realized that the next generation would breed John Dielmans.

Gender politics aside, the film can be appreciated for the sheer chutzpah of its craft. Think Tarantino goes in for long takes? Watch—and watch, and watch—as Dielman goes about her daily drudgery, including the unsexy sex. (more…)