Destiny (Der müde Tod) (1921) | Fritz Lang’s expressionist fable of life… and death gets a definitive restored release
Before dazzling audiences with Metropolis, M, and Spione, German director Fritz Lang dabbled with bending cinematic conventions in his 1921 German folksong in six verses, Der müde Tod (literally, The Weary Death).
A young woman (Lil Dagover) confronts the personification of Death (Bernhard Goetzke), in an effort to save the life of her fiancé (Walter Janssen). Death then weaves three romantic tragedies set in Persia, Quattrocento Venice and ancient China, and offers to unite the girl with her lover, if she can prevent the death of the lovers in at least one of the episodes…
Fusing German Romanticism, Orientalism, and Expressionism with evocative expressionist imagery and featuring special effects work never seen before, Der müde Tod has often been overlooked amongst Lang’s early work, but was the springboard for the über-stylised filmmaking that would culminate in such genre-defining masterpieces as Die Nibelungen and Metropolis.
Now in a new 2k restoration, this new presentation of the lost classic preserves the original German intertitles and simulates the historic colour tinting and toning of its initial release, and is accompanied by a newly-composed score by Cornelius Schwehr, which was originally performed by the 70-member Berlin Rundfunk Symphony Orchestra.
Eureka Entertainment is proud present Lang’s classic as part of their Masters of Cinema Series in a definitive Dual Format (Blu-ray & DVD) edition, available from 17 July 2017.
ORDER HERE: http://amzn.to/2kV2YsC
WHAT THE PRESS SAID – IN 1921
‘Based on inwardness and intellectual mastery, this work by author / director Fritz Lang veers off the beaten track of your average movie. It does not seek to stun the senses of the viewer with a huge contingent of people and material, but provides real, inspired art. Individual images surprise us with their picturesque beauty, capturing the essence of the German folk song in its simple sincerity.’ Abendblatt (October 7, 1921)
‘Fact and fiction skilfully interwoven, cheerful and serious moments, much bitter truth, sometimes literature, sometimes Karl May or Munchausen. Just like life itself. And above all love. Only death is more powerful.’ Wolfgang Fischer, Neue Zeit Charlottenburg (October 5, 1921)
‘A new, interesting style of film: the sweeping ballad. Half fairy-tale dream, half reality, carefully crafted.’ Erich Effler, Film und Presse no. 37/38 (1921)
A Time to Love and a Time to Die (1958) | Douglas Sirk ditches the melodrama to make an anti-war epic
During the last days of World War Two, a young German soldier (John Gavin) stationed on the Eastern Front becomes bitterly disillusioned with the war and the Nazi ’cause’ when he returns to his village, finding his love destroyed and his parents missing.
Douglas Sirk, best known for his lush 1950s Hollywood melodramas, directs a moving love story within the context of a fiercely anti-war film, based on a novel by All Quiet on the Western Front author Erich Maria Remarque.
A far cry from the soapy high camp of All That Heaven Allows or Written on the Wind, Sirk’s CinemaScope epic, A Time to Love and A Time to Die (which was originally released on 9 July 1958) is an explosive and unforgettable experience and is rightly regarded as his masterpiece, counting New Wave director Jean-Luc Godard among its fans.
In 2009 Eureka Entertainment released the 1958 war-time drama on DVD, followed by the Blu-ray in 2013 – as part of its The Masters of Cinema Series – in its original 2:35:1 CinemaScope aspect ratio, with English SDH subtitles, optional isolated music and effects track.
The extras include, Of Tears and Speed: According to Jean-Luc Godard, a 12-minute, visually annotated recitation of Godard’s seminal essay on Sirk’s film; a 19-minute video interview with screenwriter Wesley Strick; Imitation of Life [Mirage of Life]: A Portrait of Douglas Sirk, a 49-minute documentary from 1984; trailer and collector’s booklet.
Death in the Garden (1956) | Luis Buñuel’s rebellious rumble in the jungle is a surrealist tour de force
From Eureka Entertainment comes Death in the Garden, Luis Buñuel’s surreal adventure film, as part of The Masters of Cinema Series, in a Dual-format (Blu-ray & DVD) edition.
After his colourful 1954 rumble in the jungle with Adventures of Robinson Crusoe (which scored star Dan O’Herlihy a Best Actor Oscar nod), Luis Buñuel adapted José-André Lacour’s novel La mort en ce jardin for the second in his revolutionary triptych exploring the morality and tactics of armed revolution against a right-wing dictatorship. The first was 1956’s Cela s’appelle l’aurore and the last being 1959’s La Fièvre Monte à El Pao.
The action takes place in an unspecified South American outpost where martial law is declared following a miners revolt. Fearing for their lives, rugged adventurer Shark (Georges Marchal), French prostitute Djin (Simone Signoret), dedicated priest Father Lizardi (Michel Piccoli), veteran diamond miner Castin (Charles Vanel), and his deaf-mute daughter Maria (Michèle Girardon), flee into the jungle – but they are unprepared for the dangers that lay ahead…
Death in the Garden is a game of two halves: the first (running around an hour) is pure adventure as the fugitives escape the bloodshed, while the second half sees Buñuel let loose his surreal imaginings and political constructs.
Gorgeously shot in Eastmancolor and making painterly use of the exotic Catemaco and Cosamaloapan locations in Veracruz, Mexico, the film really comes into its own in the jungle with each character undergoing an existential crisis, while Buñuel’s master stroke is the discovery of the wreckage of a passenger plane – the contents of which become symbolic of the bourgeois trappings that our exiles have left behind.
Michel Piccoli (in one of his earliest feature film roles) gets my vote as the film’s stand-out character. His Catholic priest is devout, but also very human; while Georges Marchal makes for a pretty fit action hero, and Simone Signoret is one helluva rough diamond.
This little-seen Buñuel is certainly ripe for rediscovery and a surrealist tour de force.
Available to order from: Amazon http://amzn.to/2oBDNt0
DUAL FORMAT SPECIAL FEATURES:
· 1080p presentation (Blu-ray)
· Uncompressed PCM soundtrack (Blu-ray)
· Optional English subtitles
· Interview with Tony Rayns
· Interview with actor Michel Piccoli
· Interview with film scholar Victor Fuentes
· Masters of Cinema exclusive trailer
· PLUS: A booklet featuring a new essay by Philip Kemp, and archival imagery
The Entity (1982) | The supernatural suspense pulsates and Barbara Hershey electrifies in Eureka’s HD release
From Eureka Entertainment comes the Blu-ray release of supernatural terror tale, The Entity, starring Barbara Hershey.
Hershey stars as single mum Carla who, one night, is sexually assaulted in her bedroom by someone – or something – that she cannot see. Met with scepticism by her attending psychiatrist Dr. Sneiderman (Ron Silver), she is repeatedly attacked in her car, in the bath, and in front of her children.
Could this be a case of hysteria or something even more horrific? Now, with a group of liberal-minded parapsychologists, Carla agrees to take part in a bizarre experiment: to seduce, trap and ultimately capture the spectral fury…
Penned by Frank De Felitta, the author of the disturbing reincarnation thriller Audrey Rose, who draws on a real-life 1974 case in California, and helmed by veteran director Sidney J Furie, this strange slice of spectrophilia horror hokum caused a protest when the film first opened in London cinemas.
Whether you believe in the film’s premise or not, you’ll be hard-pressed not to be gripped by Hersey’s genuinely moving performance (she’s in nearly every scene), or get angry at the male characters, who regard her (and all women) as merely hysterical and seem to be engaged in a macho pissing game between each other.
Interestingly, the film was made at a time when the feminist establishment in the US was becoming increasingly autocratic and puritan, espousing dogmatic views that were anti – men, sex, art, porn and censorship. And watching the film today, you can see a deliberately provocative anti-patriarchal subtext that warrants further analysis. And while Martin Scorsese regards The Entity as the scariest horror films of all time, maybe its not supernatural elements that unnerves, but male fears of a woman’s true sexual power? It’s certainly food for thought.
The HD remaster looks super, but it also shows up the so-so effects of the Entity when it’s finally trapped – it reminded me of a giant-sized Mr Whippy ice cream version of the Carroon-creature in The Quatermass Xperiment.
Kudos, however, go to the pounding sound effects by Nightmare on Elm Street composer Elmer Bernstein, whose evocative score can also be heard in Quentin Tarantino’s Kill Bill and Inglourious Basterds.
The Entity is released on Blu-ray in the UK through Eureka Entertainment and is available from Amazon
One of the most iconic masterpieces in cinema history, Robert Wiene’s Das Cabinet des Dr. Caligari shook filmgoers worldwide and changed the direction of the art form.
Incalculably influential, the film’s nightmarishly jagged sets, sinister atmospheric and psychological emphasis left an immediate impact in its wake (horror, film noir, and gothic cinema would all be shaped directly by it).
Back in 2014, Eureka! released the definitive restoration on dual format as part of their Masters of Cinema Series, now the expressionist masterpiece is back in a special Steelbook Blu-ray edition, which includes the 2014 documentary, From Caligari to Hitler, a two-hour exploration of German Cinema during the Weimar Republic (1918-1933). Plus, there’s a host of brand-new bonus extras to savour.
WHAT’S IN THE BOX
• High-definition presentation, from the extensive FWMS restoration
• Option of Stereo and 5.1 surround scores
• Original German intertitles with optional English subtitles
• From Caligari to Hitler: German Cinema in the Age of the Masses
• You Must Become Caligari: Video essay by film critic David Cairns
• Exclusive audio commentary by film historian David Kalat
• Caligari: The Birth of Horror in the First World War: 52 minute documentary on the cultural and historical impact of the film
• On the Restoration: three short video pieces on the film’s restoration
• Trailer for the release of the new restoration of the film
• Booklet featuring vintage writing on the film by Lotte H Eisner; an original Variety review of the film; and rare archival imagery
From Eureka Entertainment comes the Blu-ray release of the 1974 biopic on Edvard Munch, the famed Norwegian Expressionist painter of The Scream, who was born 153 years ago today in 1863 and died, aged 80, on 23 January 1944.
Described by Ingmar Bergman as ‘a work of genius’, the Bafta-winning film found British director Peter Watkins’ using his revolutionary vérité style (which he developed in The War Game and Punishment Park) to paint a compelling portrait of the famed artist and a vivid picture of the emotional, political, and social upheavals that informed his art.
In late 19th century Kristiania (now Oslo), the young artist (played by Geir Westby) has an affair with ‘Mrs. Heiberg’, a devastating experience that will haunt him for the rest of his life. Critics and public alike attack his work and he is forced to leave his home country for Berlin, where, along with the notorious Swedish playwright August Strindberg, he becomes part of the cultural storm that is to sweep Europe…
The Masters of Cinema Series Blu-ray presentation includes the director-approved high-definition restoration of extended 221-minute, optional SDH subtitles for the deaf and hard of hearing, and a collector’s booklet with a Peter Watkins self-interview, writing by Joseph Gomez, a Munch timeline, and numerous artworks.
Jinnah (1998) | Christopher Lee gives the performance of a lifetime as Pakistan’s revered founding father
‘Few individuals significantly alter the course of history. Fewer still modify the map of the world. Hardly anyone can be credited with creating a nation-state. Muhammad Ali Jinnah did all three’
So wrote Stanley Wolpert in his acclaimed 1984 biography of Muhammad Ali Jinnah, the man who was almost single-handedly responsible for splitting Pakistan from India. A source of much controversy throughout its making, this 1998 biopic from Pakistani-French indie film-maker Jamil Dehlavi opened to great acclaim in Pakistan but has never been available in the English-speaking world – until now.
Following his death on 11 September 1948, Muhammad Ali Jinnah (Christopher Lee) awaits final judgement in the afterlife and must tell the story of his life, before his celestial minder (Shashi Kapoor). His story covers the intense political strife and bloody events that led to the formation of the Muslim nation, starting in 1947 as Lord Mountbatten (James Fox) uses his diplomatic whiles to persuade Mahatma Gandhi (Sam Dastor) and Jawaharlal Nehru (Robert Ashby) to join in his effort to stop Jinnah’s homeland campaign…
This is a lavishly mounted, intensely moving, piece of cinema. If you’re not offended by an English actor playing a Pakistani, then Lee certainly delivers one of the finest performances of his career. It’s certainly the one that he was most proud of – he even bears much countenance to the revered real-life statesman, not only in appearance, but also in some of the character traits that are explored in his inventive biopic that not only addresses Jinnah the politician, but also the man – especially his regrets in his personal relationships with his two wives and daughter, Dina. My other best acting vote goes to Maria Aitken’s fabulous turn as the manipulative Lady Edwina Mountbatten.
The Eureka Entertainment release features a 1080p HD transfer on the Blu-ray, with a progressive encode on the DVD, optional English subtitles, and original trailer.
‘Youth had been a habit of hers for so long that she could not part with it’
When Fedora (Marthe Keller), the world’s most famous, ageless film star dies, having thrown herself in front of a train, her one-time lover, Hollywood has-been producer Dutch (William Holden), feels a sense of guilt about hounding her in starring in a new version of Anna Karenina. But, at her funeral, he learns a terrible truth…
You’ll get a real sense of nostalgia watching Billy Wilder’s penultimate film, Fedora (1978), as it bookends his Oscar-winning 1950’s classic Sunset Boulevard, and – for all intents and purposes – this is his sun-drenched farewell to a Hollywood changed forever.
I was drawn to the film not because of Wilder, but for William Holden, who hit his stride in the 1950s before becoming a veteran for hire in 1970s genre favourites like The Towering Inferno, Damien: Omen II and Network. His grizzled has-been Dutch is not unlike his down-at-heel screenwriter Joe Gillis in Sunset Boulevard, and he again uses on that fabulous smoky growl. And it’s his narration that drives the story, based on Tom Tyron’s novella, which begins as a mystery before the big reveal…
You see, time has not been kind to the 67-year-old Fedora, who has a plastic surgeon (José Ferrer) on call 24-7 to keep her looking youthful, while the wheelchair-bound Countess (Hildegard Knef) relies on her servant (Frances Sternhagen) and chauffeur (Gottfried John) to keep Fedora out of the public eye and out of trouble. She also fears that the public will be mortified to learn that Fedora not only has a drug addiction – she also has an unhealthy obsession for the actor, Michael York…
The other reason I was drawn to the film was because of Tom Tyron (1926-1991). Ever since he ditched acting in the late-1960s, he went on to craft some fascinating horror, mystery and sci-fi novels, some of which were adapted for the big and small screen, like the American Gothic chiller The Other (1971).
His original novella is all about an obsession with youth, and his Fedora is portrayed as an addict desperate for her latest fix from her surgeon. It’s a character that certainly belongs in the pantheon of Grande Dame Guignol – and a sense of that creeps into Wilder’s film, especially in the relationship between Fedora and the Countess (they reminded me of real-life sisters Olivia de Havilland and Joan Fontaine).
Taking Tyron’s premise, Wilder then weaves in his own in-jokes to shine his old-style Fresnel lanterns on the ugly face of Hollywood and its acquiescence to youth-orientated culture that has seen the old guard replaced by bearded pot-heads waving a camera around.
Golden Age aficionados, meanwhile, will be richly rewarded with references that pay homage to screen legends like Marlene Dietrich and Joan Crawford, music that evokes The Third Man; Euro horror settings and visuals; and campy colourful Douglas Sirk-styled melodramatics. Not to mention an OTT funeral that’s to die for. As the Countess says, it’s ‘Magic Time!’
The new high-definition presentation of Fedora on dual format (Blu-ray & DVD) from Eureka! includes English subtitles, deleted scenes, a restoration comparison and a collector’s booklet featuring essays on the film and archival images.
Conversation Piece (1974) | Luchino Visconti’s meditation on family, beauty and decadence is a quiet achiever
Directed with operatic flare by Luchino Visconti (following his recovery from a stroke), 1974’s Conversation Piece is dominated by a finely controlled turn by Burt Lancaster as a retired American professor who has filled his apartment in Rome with 18th-century paintings of family groups known as ‘conversation pieces’.
But when the brash Countess Brumonti (Silvana Mangano) lures the professor into accepting her family and young German lover (Helmut Berger) as tenants, he finds his ordered life and self-composure increasingly disrupted by their presence…
Set inside the confines of a grand old palazzo, Visconti’s penultimate film (which was shot in English) is a sleek, sly critique of the decadent European jet set that gets better with age.
You’ll be hard-pressed to have little empathy for the self-absorbed Brumonti brood or Berger’s decadent lothario, but Lancaster’s professor is real softie who will melt your heart. And the way he deals with his life being turned upside down is a wonderful lesson in humility. This is a quiet achiever from a master director in his final years.
Conversation Piece gets a dual-format release following a brand new 2k restoration from Eureka! Entertainment as part of their Masters of Cinema Series. Extras include the Italian dub soundtrack, optional subtitles, an interview with screenwriter Alessandro Bencivenni, trailer and a collector’s booklet.
That Cold Day in the Park (1969) | This forgotten gem from American master Robert Altman is electrifying
Before he found fame with M*A*S*H, Robert Altman crafted the unsettling 1969 psychological thriller, That Cold Day in the Park, which gets a UK Blu-ray/DVD release from Eureka Entertainment.
Wealthy thirtysomething spinster Frances (Sandy Dennis) lives in a stiflingly bourgeois world of elderly suitors and domestic routine. But when she invites a seemingly mute and homeless hippy (Michael Burns) into her Vancouver apartment, her seemingly spontaneous act of charity reveals pent-up desires that soon turn into neurotic delusion.
Sandy Dennis’ measured performance drives this compelling tale that anticipates Altman’s ‘women on the verge’ films Images and 3 Women. Giving audiences an early taste of the director’s anti-genre approach to cinema, it eschews the camp hysterics of the Grand Dame Guignol of Whatever Happened to… Baby Jane and Aunt Alice for subtle subversiveness. And this is manifested through Dennis’ troubled Francis, whose repressed feelings are met with humiliation and sexual trauma that sends her careering over the edge, while the fate of Burns’ free spirited stranger proves that nothing in life is ever truly free.
Coupled with the gripping performances of the two leads is László Kovács’ dark, but luminous photography and Altman’s experimental visual touches (voyeuristic long lenses, distorted reflections and drifting zooms) that lends the psychological drama its all-pervading atmosphere of unease that builds and builds until the harrowing final scene.
Part of Eureka Entertainment’s Masters of Cinema Series, this dual-format edition includes a new high-definition transfer and an enlightening interview with Altman on Altman author David Thompson.