The Criterion Collection has announced a host of literary adaptations for March 2018!

The blurbs are from The Criterion Collection’s website (so are the links) — go there to see the details on the supplements.


March 13, 2018

The Age of Innocence (1993)
d. Martin Scorsese

From The Criterion Collection:

No filmmaker captures the grandeur and energy of New York like Martin Scorsese. With this sumptuous romance, he meticulously adapted the work of another great New York artist, Edith Wharton, bringing to life her tragic novel of the cloistered world of Gilded Age Manhattan. The Age of Innocence tells the story of Newland Archer (Daniel Day-Lewis), whose engagement to an innocent socialite (Winona Ryder) binds him to the codes and rituals of his upbringing. But when her cousin (Michelle Pfeiffer) arrives in town on a wave of scandal after separating from her husband, she ignites passions in Newland he never knew existed. Swelling with exquisite period detail, this film is an alternately heartbreaking and satirical look at the brutality of old-world America.


March 20, 2018

The Passion of Joan of Arc (1928)
d. Carl Th. Dreyer

From The Criterion Collection:

Spiritual rapture and institutional hypocrisy come to stark, vivid life in one of the most transcendent masterpieces of the silent era. Chronicling the trial of Joan of Arc in the days leading up to her execution, Danish master Carl Theodor Dreyer depicts her torment with startling immediacy, employing an array of techniques—including expressionistic lighting, interconnected sets, and painfully intimate close-ups—to immerse viewers in her subjective experience. Anchoring Dreyer’s audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom.


March 20, 2018

Baal (1970)
d. Volker Schlöndorff

From The Criterion Collection:

Volker Schlöndorff transported Bertolt Brecht’s 1918 debut play to contemporary West Germany for this vicious experiment in adaptation, seldom seen for nearly half a century. Oozing with brutish charisma, Rainer Werner Fassbinder embodies the eponymous anarchist poet, who feels himself cast out from bourgeois society and sets off on a schnapps-soaked rampage. Hewing faithfully to Brecht’s text, Schlöndorff juxtaposes the theatricality of the prose with bare-bones, handheld 16 mm camera work, which gives immediacy to this savage story of rebellion. Featuring a supporting cast of Fassbinder’s troupe of theater actors as well as Margarethe von Trotta, Baal demonstrates the uncompromising nature of Schlöndorff’s vision and forged a path for New German Cinema.


March 27, 2018

Women in Love (1969)
d. Ken Russell

From The Criterion Collection:

With this film, the audacious Ken Russell vaulted onto the international stage, drawing on the psychosexual radicalism of D. H. Lawrence’s classic novel to shatter taboos in his own time. Set in an English mining community on the crest of modernity, Women in Love traces the shifting currents of desire that link the emancipated Brangwen sisters (Jennie Linden and an Oscar-winning Glenda Jackson) to a freethinking dreamer (Alan Bates) and a hard-willed industrialist (Oliver Reed)—as well as the men’s own erotically charged friendship. Coupling earthy sensuality with kaleidoscopically stylized images, Russell pursues this quartet to the heights of agony and ecstasy, crafting a breathtaking drama of human sexuality at its most liberating, dominating, and destructive extremes.


March 27, 2018

King of Jazz (1930)
d. John Murray Anderson

From The Criterion Collection:

Made during the early years of the movie musical, this exuberant revue was one of the most extravagant, eclectic, and technically ambitious Hollywood productions of its day. Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger-than-life rendition of George Gershwin’s “Rhapsody in Blue”)—all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor. Long available only in incomplete form, King of Jazz appears here newly restored to its original glory, offering a fascinating snapshot of the way mainstream American popular culture viewed itself at the dawn of the 1930s.

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By | 2018-01-16T17:09:53+00:00 December 15th, 2017|Categories: News|0 Comments

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