{"id":25063,"date":"2018-12-14T17:47:15","date_gmt":"2018-12-14T21:47:15","guid":{"rendered":"http:\/\/mookseandgripes.com\/reviews\/?p=25063"},"modified":"2019-01-15T13:48:49","modified_gmt":"2019-01-15T17:48:49","slug":"the-criterion-collection-announces-march-2019-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2018\/12\/14\/the-criterion-collection-announces-march-2019-releases\/","title":{"rendered":"The Criterion Collection Announces March 2019 Releases"},"content":{"rendered":"

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The Criterion Collection has announced its releases for March 2019. Often, if the 15th falls on a weekend, we don’t get these announcements until the next Monday, so this was a surprise — and a pleasant surprise, at that, for all of the great stuff coming!<\/p>\n

The blurbs are from The Criterion Collection\u2019s website (so are the links)\u00a0\u2014 go there to see the details on the supplements.<\/p>\n

\n

\"\"March 12, 2019<\/strong><\/p>\n

The Kid Brother<\/i><\/b>\u00a0(1927)
\n<\/i><\/b>d. Ted Wilde<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

Silent-comedy legend Harold Lloyd goes west in this irresistible blend of action, romance, and slapstick invention. The bespectacled everyman is at his inimitable best as Harold Hickory, the gentle son of a prominent lawman who lives in the shadow of his rough-and-tumble brothers. When a traveling medicine show rolls into town, it brings with it excitement, the possibility of love, and a chance for Harold to prove his mettle. Deftly balancing Lloyd\u2019s brilliant sight gags and thrilling set pieces\u2014including an epic, knock-down, drag-out fight aboard an abandoned ship\u2014with one of the actor-filmmaker\u2019s most fully realized, root-for-the-underdog narratives,\u00a0The Kid Brother<\/em>\u00a0is a hilarious and heartwarming high-water mark of early screen comedy.<\/span><\/p><\/blockquote>\n

\n

March 12, 2019<\/strong><\/p>\n

\"\"The Magic Flute<\/em><\/b>\u00a0(1975)
\n<\/b>d. Ingmar Bergman<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

\n
\n

This scintillating screen version of Mozart\u2019s beloved opera showcases Ingmar Bergman\u2019s deep knowledge of music and gift for expressing it cinematically. Casting some of Europe\u2019s finest soloists\u2014Josef K\u00f6stlinger, Ulrik Cold, H\u00e5kan Hageg\u00e5rd, and Birgit Nordin among them\u2014the director lovingly recreated the baroque theater of Sweden\u2019s Drottningholm Palace to stage the story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil. A celebration of love and forgiveness that exhibits a profound appreciation for the artifice and spectacle of the theater,\u00a0The Magic Flute<\/em>\u00a0is among the most exquisite opera films ever made.<\/span><\/p>\n<\/div>\n<\/blockquote>\n

\n

March 19, 2019<\/strong><\/p>\n

\"\"Detour<\/i><\/b>\u00a0(1945)
\n<\/em>d. Edgar G. Ulmer<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

From Poverty Row came a movie that, perhaps more than any other, epitomizes the dark fatalism at the heart of film noir. As he hitchhikes his way from New York to Los Angeles, a down-on-his-luck nightclub pianist (Tom Neal) finds himself with a dead body on his hands and nowhere to run\u2014a waking nightmare that goes from bad to worse when he picks up the most vicious femme fatale in cinema history, Ann Savage\u2019s snarling, monstrously conniving drifter Vera. Working with no-name stars on a bargain-basement budget, B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry. Long unavailable in a format in which its hard-boiled beauty could be fully appreciated,\u00a0Detour<\/em>\u00a0haunts anew in its first major restoration.<\/span><\/p><\/blockquote>\n

\n

March 19, 2019<\/strong><\/p>\n

\"\"Wanda<\/i><\/b>\u00a0(1970)
\n<\/em>d. Barbara Loden<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

With her first and only film\u2014a hard-luck drama she wrote, directed, and starred in\u2014Barbara Loden turned in a groundbreaking work of American independent cinema, bringing to life a kind of character seldom seen on-screen. Set amid a soot-choked Pennsylvania landscape, and shot in an intensely intimate v\u00e9rit\u00e9 style, the film takes up with distant and soft-spoken Wanda (Loden), who has left her husband, lost custody of her children, and now finds herself alone, drifting between dingy bars and motels, where she falls prey to a series of callous men\u2014including a bank robber who ropes her into his next criminal scheme. A difficult-to-see masterpiece that has nonetheless exerted an outsize influence on generations of artists and filmmakers,\u00a0Wanda<\/em>\u00a0is a compassionate and wrenching portrait of a woman stranded on society\u2019s margins.<\/span><\/p><\/blockquote>\n

\n

March 26, 2019<\/strong><\/p>\n

\"\"I Wanna Hold Your Hand\u00a0<\/i><\/b>(1978)
\n<\/em>d. Robert Zemeckis<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

On February 9, 1964, the Beatles made their first live appearance on American television on\u00a0The Ed Sullivan Show,<\/em>ratcheting up the frenzy of a fanbase whose ecstatic devotion to the band heralded an explosive new wave of youth culture.\u00a0I Wanna Hold Your Hand\u00a0<\/em>looks back to that fateful weekend, following six teenagers, each with their own reasons for wanting to see the Fab Four, from New Jersey to Manhattan on a madcap mission to meet the band and score tickets to the show. With this rollicking first feature, director Robert Zemeckis and cowriter Bob Gale established themselves as a filmmaking team par excellence, adept at mining America\u2019s cultural memory for comedy and adventure with a winning mixture of sweet nostalgia and playful irreverence.<\/span><\/p><\/blockquote>\n

\n

March 26, 2019<\/strong><\/p>\n

\"\"Jap\u00f3n\u00a0<\/i><\/b>(2002)
\n<\/em>d. Carlos Reygadas<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

In this preternaturally assured feature debut by Carlos Reygadas, a man (Alejandro Ferretis) travels from Mexico City to an isolated village to commit suicide; once there, however, he meets a pious elderly woman (Magdalena Flores) whose quiet humanity incites a reawakening of his desires. Recruiting a cast of nonactors and filming in sublime 16 mm CinemaScope, Reygadas explores the harsh beauty of the Mexican countryside with earthy tactility, conjuring a psychic landscape where religion mingles with sex, life coexists with death, and the animal and spiritual sides of human experience become indistinguishable. A work of soaring ambition and startling visual poetry,\u00a0Jap\u00f3n<\/em>\u00a0is an existential journey through uncharted cinematic territory that established the singular voice of its director.<\/span><\/p><\/blockquote>\n

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