CineJourneys (master feed)

Mark and Aaron cover the Dutch and French horror/suspense classic, The Vanishing. Having experienced this film numerous times before, we are able to explore the foreshadowing and narrative structure that led us on a wild journey to an even wilder ending. We talk about obsession, control, that harrowing ending, and yes, we even get into the American remake. About the film: A young man embarks on an obsessive search for the girlfriend who mysteriously disappeared while the couple were taking a sunny vacation trip, and his three-year investigation draws the attention of her abductor, a mild-mannered professor with a clinically diabolical mind. An unorthodox love story and a truly unsettling thriller, Dutch filmmaker George Sluizer’s The Vanishing unfolds with meticulous intensity, leading to an unforgettable finale that has unnerved audiences around the world. Buy The Films On Amazon: Episode Links & Notes 3:10 – October Horror Schedule 5:00 – Short Takes (The Tin Drum, Chevalier, Stop Making Sense, Tapeheads) 23:00 – The Vanishing Cinema Gadfly Episode 21 – The Vanishing Magic Lantern Episode 20 – The Vanishing The Vanishing – Criterion The Vanishing – IMDB Tim Krabbé – Cycling Profile Twilight Time – The Vanishing (1993 American Remake) Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: House

Mark, Aaron and Eric Ford begin a month of horror with the micro-budget cult classic, Carnival of Souls. We talk about what makes this such an enduring classic that has held up over time, the bizarre story about how it was made, its influences and what it has influenced, and what type of artistic aims the filmmakers tried to reach. About the film: A young woman in a small Kansas town survives a drag race accident, then agrees to take a job as a church organist in Salt Lake City. En route, she is haunted by a bizarre apparition that compels her toward an abandoned lakeside pavilion. Made by industrial filmmakers on a small budget, the eerily effective B-movie classic Carnival of Souls was intended to have “the look of a Bergman and the feel of a Cocteau”—and, with its strikingly used locations and spooky organ score, it succeeds. Herk Harvey’s macabre masterpiece gained a cult following on late-night television and continues to inspire filmmakers today. Buy The Films On Amazon: Episode Links & Notes Special Guest: Eric Ford from The Burlington Film Society and the Vermont International Film Festival. 1:10 – Welcome Eric Ford from Burlington Film Society, Vermont International Film Festival. 4:10 – Vermont International Film Festival 11:20 – Short Takes (Angst, The Neon Demon, Son of Saul, The Brood, Neon Bull, Anomalisa) 31:45 – Carnival of Souls VTIFF – A-Z Aaron’s Eternal Sunshine of the Spotless Mind review Wrong Reel 181: TIFF Dana Gould as Dr. Zaius/Mark Twain Rifftrax – Carnival of Souls Criterion – Carnival of Souls IMDB – Carnival of Souls Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: The Vanishing

Mark and Aaron are joined by Marcus Pinn to explore the filmography of Jim Jarmusch, beginning with Mystery Train (1989). We explore the triple storyline, the coalescence of the director’s indie experience and arthouse sensibilities, and the film’s sense of place. We then dive into his library and style, and choose our five favorite Jarmusch films. About the film: Aloof teenage Japanese tourists, a frazzled Italian widow, and a disgruntled British immigrant all converge in the city of dreams—which, in Mystery Train, from Jim Jarmusch, is Memphis. Made with its director’s customary precision and wit, this triptych of stories pays playful tribute to the home of Stax Records, Sun Studio, Graceland, Carl Perkins, and, of course, the King, who presides over the film like a spirit. Mystery Train is one of Jarmusch’s very best movies, a boozy and beautiful pilgrimage to an iconic American ghost town and a paean to the music it gave the world. Buy The Films On Amazon: Special Guest: Marcus Pinn from Pinnland Empire. You can follow him on Twitter. 2:15 – TIFF talk with Marcus 17:40 – Criterion Connection “Shelved” 19:00 – Mystery Train 1:01:00 – Jim Jarmusch The Pink Smoke Cut Print Film Wrong Reel 181: TIFF Marcus’ Interview with Claire Denis Criterion Completion Mystery Train – IMDB Mystery Train – Criterion Marcus’ History – Stranger than Paradise Aaron’s Essay on Down by Law The Newsstand 64 – December 2016 Releases Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: Carnival of Souls

Mark, Aaron and Scott Nye kick off the first of a seven episode series about French cinema in the 1930s. We give an overview of the decade and some historical context, and discuss the French silent tradition and how that it transitioned to sound. We also get into detail about two important filmmakers, Jacques Feyder and Jean Vigo. Feyder was an important filmmaker in his time, but his works are not as prominent today, whereas Vigo was nearly forgotten in the 1930s and discovered after the war. Episode Links & Notes Special Guest: Scott Nye from CriterionCast and Battleship Pretension. You can follow him on Twitter. 3:15 – Dedication and Thanks 9:35 – Intro to French Film Series 28:15 – From Silent to Sound 46:30 – Jacques Feyder 1:13:30 – Jean Vigo Criterion Collection: Poetic Realism Flicker Alley: The House of Mystery French Masterworks: Russian Émigrés in Paris 1923-1929 Flicker Alley: L’Inhumaine Flicker Alley – Vimeo Channel Aaron West – 3 from Jean Vigo Recommended Films Napoleon Un chien andalou Coeur fidèle Crainquebille Visage d’enfants Le grand jeu Carnival in Flanders À Propos de Nice Zéro de conduite L’Atalante Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: Mystery Train and Jim Jarmusch

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles. About Nick Redman: London-born Nick Redman, one of Hollywood’s leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals. As a consultant to the Fox Music Group (ongoing since 1993), he has developed and overseen Hollywood’s most comprehensive film music restoration program, personally producing more than 500 albums featuring the music of Alfred Newman, Bernard Herrmann, Jerry Goldsmith, John Williams, Rodgers and Hammerstein, Alex North, Hans Zimmer, James Horner, Michael Kamen and many more. His productions of the “Star Wars Trilogy” were certified Gold by the RIAA. In 2007, he produced and directed Becoming John Ford, a feature-length documentary for Twentieth Century Fox, which premiered as a special selection at the Venice International Film Festival. The film details the creative and fractious relationship between the brittle, contentious director and his mentor / boss, studio chief Darryl F. Zanuck. In his capacity as a film historian, he has presided over commentaries for dozens of DVDs. As producer and director, he has provided special materials—documentaries and commentaries—for numerous titles including Sam Peckinpah’s Legendary Westerns Collection, honored by Entertainment Weekly as the Number One DVD boxed set of 2006. In 2011, he co-founded the independent label Twilight Time which releases classic films licensed from 20th Century Fox, Columbia/Sony, and MGM/UA on DVD and Blu-ray. Nick has been a member of BAFTA Los Angeles for many years and has conducted numerous interviews for screening Q&A’s and the Heritage Archive, including Michael Apted, Malcolm McDowell, Sir Ben Kingsley, Ian McShane, Tilda Swinton, Kevin Brownlow and Millicent Martin. About Brian Jamieson: Jamieson first entered the film industry with the New Zealand branch of Warner Bros. in 1977. He was later transferred to the United Kingdom. After his success publicizing Steven Spielberg’s Close Encounters of the Third Kind and Peter Yates’ The Deep, he was named the International Publicist of the Year. He moved to the United States in 1984. During the 1980s, he was in charge of all the company’s theatrical marketing in Latin America, the Far East, South Africa, Europe, Australia and New Zealand; he was later promoted to head of International Marketing and Publicity, which made him responsible for home video marketing internationally. He also collaborated with Stanley Kubrick to promote Full Metal Jacket; they continued to work together until Eyes Wide Shut, Kubrick’s last film before his death in 1999. The Times Colonist called Jamieson a “respected film preservationist”. In his work at Warner Home Video, Jamieson shepherded the restorations of numerous classical films. In 2002, Jamieson helped produce Charlie: The Life and Art of Charles Chaplin, with Richard Schickel, which was shown at the 2003 Cannes Film Festival. Two years later, he collaborated with Schickel to reconstruct The Big Red One, by Sam Fuller. The two readded 47 minutes of previously cut material.The reconstruction won several awards, including the Seattle Film Critics Awards and the Los Angeles Film Critics Association Awards. He later released a reconstruction of Sam Peckinpah’s 1969 film The Wild Bunch. By March 2006 he had opened his own production agency, Redwind Productions, and in 2007 released the company’s first production, Cannes All Access, a look at the social impact of the Cannes Film Festival. In 2010 he made his directorial debut with To Whom It May Concern: Ka Shen’s Journey, which tells how Nancy Kwan ensured that Asians could play Asian characters with her success in 1960’s The World of Suzie Wong. The film received several awards, including the Women’s International Film and Television Showcase (WIFTS) Diversity Award, as well as the Best Feature Documentary from both the American International Film Festival (AIFF) and the WorldFest-Houston International Film Festival. Jamieson himself received the Best Director award from the AIFF. According to the WIFTS Foundation, Jamieson was one of the first directors to include documentaries with home video releases

Mark and Aaron are joined by Dave Eves to evaluate the massive Zatoichi serial starring Shintaro Katsu. We explore the character of Zatoichi, and how he’s an unusual type of superhero. We also share tips on the best way to watch the series, whether a little bit at a time or to go on a binge-watch. We evaluate the series as both a piece of art and as pop culture, observing the high and low points. About the film: The colossally popular Zatoichi films make up the longest-running action series in Japanese history and created one of the screen’s great heroes: an itinerant blind masseur who also happens to be a lightning-fast swordsman. As this iconic figure, the charismatic and earthy Shintaro Katsu became an instant superstar, lending a larger-than-life presence to the thrilling adventures of a man who lives staunchly by a code of honor and delivers justice in every town and village he enters. The films that feature him are variously pulse-pounding, hilarious, stirring, and completely off-the-wall. This deluxe set features the string of twenty-five Zatoichi films made between 1962 and 1973, collected in one package for the first time. Buy The Set On Amazon: Episode Links & Notes Special Guest: Dave Eves from Cinema Versus. You can follow him on Twitter. 0:00 – Intro and Welcome Dave! 2:10 – Dave’s Criterion Connection Redux 5:00 – Short Takes (Love on the Run, The Cook the Thief his Wife and Her Lover, Cléo From 5 to 7) 17:35 – Zatoichi: The Blind Swordsman Short Cut 3: Night and the City with Dave Eves InSession Film Podcast 183: Settling the Score Aaron’s Zatoichi Letterboxd list Dave’s Zatoichi Letterboxd list Criterion Blues – Zatoichi discs 1-3 Criterion Blues – Zatoichi disc 4 Criterion Blues – Zatoichi disc 5 Criterion Blues – Zatoichi disc 6 Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: Appreciation of a Boutique Label

Mark and Aaron celebrate the Summer Olympics by exploring Downhill Racer, an independent film about the Winter Olympics. We draw parallels to what is portrayed in the Michael Ritchie with the actual sporting events that take place today, including the thrills of victory and the agony of defeat. We discuss the groundbreaking cinematography, the nature of winning in an individual sport and the the enduring legacy of Sundance that began with this film. About the film: Astonishing Alpine location photography and a young Robert Redford in one of his earliest starring roles are just two of the visual splendors of Downhill Racer, the visceral debut feature of Michael Ritchie. In a beautifully understated performance, Redford is David Chappellet, a ruthlessly ambitious skier competing for Olympic gold with an underdog American team in Europe, and Gene Hackman provides tough support as the coach who tries to temper the upstart’s narcissistic drive for glory. With a subtle screenplay by acclaimed novelist James Salter, Downhill Racer is a vivid character portrait buoyed by breathtakingly fast and furious imagery that brings the viewer directly into the mind of the competitor. Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro and Welcome 1:30 – Short Takes (The Secret in Their Eyes, Everybody Wants Some, Ride with the Devil, Uncle Boonmee Who Can Recall His Past Lives) 17:25 – Downhill Racer Downhill Racer – IMDB Downhill Racer – Criterion The Agony of Defeat Skier The Newsstand – Episode 63 Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Zatoichi: The Blind Swordsman

Mark and Aaron podcast live and in person for the first time ever. During Aaron’s vacation up north, he visited “Casa Hurne” up in beautiful Vermont. While we weren’t drinking beer and eating delicious food, we decided to podcast a little about the experience we’ve had with Criterion Close-Up. Aaron also talks about his journey through Canada and the film connections he made along the way. Episode Links & Notes 0:00 – Intro & Welcome 2:10 – Aaron’s Canada Trip & Martin Kessler 7:30 – Short Takes (Eat that Question: Frank Zappa in His Own Words, The Witness, Green Room) 20:00 – Dinner at The 400 Blows 22:25 – Christopher Faulkner 30:15 – Reflecting on Criterion Close-Up Eat that Question: Frank Zappa in his Own Words The Witness Green Room Alex Winter’s Frank Zappa Project Criterion Close-Up Episodes Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: Downhill Racer

Mark and Aaron are joined by Matt Gasteier to explore Nicholas Ray’s In a Lonely Place (1950) and evaluate Humphrey Bogart’s body of work. We go into how Ray’s life informed the cinema, why he wasn’t celebrated during his time and subsequently appreciated later. We also go through Bogart’s entire career, from getting his lucky break to becoming a superstar. About the film: When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama, fueled by powerhouse performances. An uncompromising tale of two people desperate to love yet struggling with their demons and each other, this is one of the greatest films of the 1950s, and a benchmark in the career of the classic Hollywood auteur Nicholas Ray. Buy The Films On Amazon: Episode Links & Notes Special Guest: Matt Gasteier from Criterion on the Brain and Criterion by Spine. You can follow him on Twitter. 0:00 – Welcome and New Music! 2:25 – Welcome Matt! 6:20 – Matt’s Criterion Connection 14:40 – In a Lonely Place 1:06 – Humphrey Bogart Silent Film Music with Ben Model episode The Criterion Chronology Matt’s Essay about Bigger than Life Aaron’s Essay about Bigger than Life You Must Remember This – Bogie and Bacall Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Music from Ben Model: Website | Facebook | Twitter | Instagram Next time on the podcast: North of the Border

Mark and Aaron are joined by Scott Nye to hash out the intricate themes, history, and nuance of Edward Yang’s A Brighter Summer Day. Given the length and depth of the film, we explored it in detail, distilling the cultural and societal clashes that took place in a pivotal period of Chinese and Taiwanese history. We also compare it to what is considered Yang’s other masterpiece, Yi Yi, and we touch on the New Taiwanese Cinema movement. About the film: Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, finally comes to home video in the United States. Set in the early sixties in Taiwan, A Brighter Summer Day is based on the true story of a crime that rocked the nation. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual, inexorable fall of a young teenager (Chen Chang, in his first role) from innocence to juvenile delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil. Buy The Films On Amazon: Episode Links & Notes Special Guest: Scott Nye from CriterionCast and Battleship Pretension. You can follow him on Twitter. 0:00 – Hello and Welcome Scott 2:25 – Scott’s Criterion Connection 5:10 – Film School in a Cast 8:00 – A Brighter Summer Day 25:00 – Spoiler Warning 1:14:45 – Ratings. No spoilers. Facebook Photo Album David Bordwell – A Brighter Summer Day: Yang and His Gangs Aaron West on Yi Yi YesAsia Taiwan New Cinema box Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: In a Lonely Place, Bogie Films

Mark and Aaron welcome old friend, Doug McCambridge to talk about Robert Altman’s “Don’t call it a” comeback film. We touch on the opening tracking shot, what Altman is saying about Hollywood, and yes, we even go into the ending — or both of them. On top of that, we give some tidbits on how to be economical with the Barnes & Noble Criterion Sale. About the film: A Hollywood studio executive with a shaky moral compass (Tim Robbins) finds himself caught up in a criminal situation that would be right at home in one of his movie projects, in this biting industry satire from Robert Altman. Mixing elements of film noir with sly insider comedy, The Player, based on a novel by Michael Tolkin, functions as both a nifty stylish murder story and a commentary on its own making, and it is stocked with a heroic supporting cast (Peter Gallagher, Whoopi Goldberg, Greta Scacchi, Dean Stockwell, Fred Ward) and a lineup of star cameos that make for an astonishing Hollywood who’s who. This complexly woven grand entertainment (which kicks off with one of American cinema’s most audacious and acclaimed opening shots) was the film that marked Altman’s triumphant commercial comeback in the early 1990s. Buy The Films On Amazon: Episode Links & Notes Special Guest: Doug McCambridge from Good Times, Great Movies. You can find them on Facebook, Twitter. 0:00 – Intro and Welcome Doug 4:00 – Doug’s Announcement 7:30 – Thank Ben Model 9:20 – Criterion Completion 12:35 – Barnes and Noble Sale 22:00 – The Player Plain Case – iTunes Plain Case – Facebook CCU36: Plain Archive Criterion Completion Podcast Blu-Ray.com Barnes & Noble Thread The Blind Podsmen Podcast WrongReel 154: Game of Thrones Season 6 Recap Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: A Brighter Summer Day

Mark and Aaron welcome Ben Model, silent film historian, accompanist, distributor, and enthusiast. He gave a presentation about “undercranking” on Criterion’s release of Chaplin’s The Kid. We discuss the idea of undercranking, scoring silent music, and the state of silent media today theatrically and in the home video market. Episode Links & Notes Special Guest: Ben Model from Silent Film Music and Undercrank Productions. You can find him on Facebook, Twitter and Instagram. 0:00 – Intro and Welcome Ben 1:15 – Ben’s Criterion Connection 4:00 – Discussion and explanation of undercranking 18:20 – Ben’s background 24:00 –Silent films on Criterion and other labels 27:20 – Silent Film Kickstarters 38:00 – Silent Film discussion Silent Film Music – YouTube Silent Film Music podcast Kickstarter – Accidentally Preserved Rare and Lost Silent Films Kickstarter – When Knighthood Was in Flower Kickstarter – The Bridge’s Play Kickstarter – Pioneers of African-American Cinema Movies Silently – Top Five Silent Film Directors Seriously Funny – The Films of Leo McCarey Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Player

Mark and Aaron take a look at Whit Stillman’s Barcelona (1994), and how it compares with his other work. We focus most on his other two films from the 1990s, Metropolitan (1990) and Last Days of Disco (1998), but we also discuss his most recent effort, Love and Friendship. About the film: Whit Stillman followed his delightful indie breakthrough Metropolitan with another clever and garrulous comedy of manners, this one with a darker edge. A pair of preppy yet constitutionally mismatched American cousins—a salesman and a navy officer—argue about romance and politics while working in the beautiful Spanish city of the film’s title. Set during the eighties, Barcelona explores topics both heady (American exceptionalism, Cold War foreign policy) and hilarious (the ins and outs of international dating, the proper shaving method) while remaining a constantly witty delight, featuring a sharp young cast that includes Taylor Nichols, Chris Eigeman, and Mira Sorvino. Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro and Welcome 4:25 – Podcastings 10:00 – Upcoming Series Announcement 13:20 – Short Takes (The Lobster, Love & Friendship) 33:00 – Barcelona and Whit Stillman Aaron’s Top 100 Sci-Fi Films Tim Leggoe’s Top 50 Sci-Fi Films Criterion Cast Chronicles: Episode 4 Wrong Reel: Three Colors Trilogy First Time Watchers: Mon Oncle Criterion Chronicles: Episode 3 (with Barcelona) Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Music and Film

Mark and Aaron explore the popular genre that is science fiction. At the core of our discussion is a science fiction project that Aaron has been working on, but we also explore the genre on Criterion, and delve into Rainer Werner Fassbinder’s World on a Wire. Episode Links & Notes 0:00 – Welcome and Intro 3:00 – The War Room, Thanks Keith 8:30 – Short Takes (Frau im Mond, The Fits, Captain America: Civil War, Robinson Crusoe on Mars, Mysterious Island, Stalker) 29:00 – The Sci-Fi List Project 50:30 – Sci-Fi Criterion Titles 57:00 – World on a Wire CCU39: The War Room Wonders in the Dark CCU12: The Brood & Early Cronenberg Musical Notation: Metropolis Great Criterion Sci-Fi (Corby D.) Criterion Science Fiction (kafkaesque) Taste of Cinema: 15 Great Scientific Movies in the Criterion Collection Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Barcelona

Aaron is joined by Keith Enright for a discussion of politics, new and old, through the lens of The War Room (1993), the behind-the scenes 1992 Clinton campaign documentary. We go into depth about the backroom politics and how those are what defines the campaign, but are usually far from the public eye. We contrast the politics of today and yesterday by looking the current affairs and Robert Drew’s Primary. About the film: The 1992 presidential election was a triumph not only for Bill Clinton but also for the new breed of strategists who guided him to the White House—and changed the face of politics in the process. For this thrilling, behind-closed-doors account of that campaign, renowned cinema verité filmmakers Chris Hegedus and D. A. Pennebaker captured the brainstorming and bull sessions of Clinton’s crack team of consultants—especially James Carville and George Stephanopoulos, who became media stars in their own right as they injected a savvy, youthful spirit and spontaneity into the process of campaigning. Fleet-footed and entertaining, The War Room is a vivid document of a political moment whose truths (“It’s the economy, stupid!”) still ring in our ears. Buy The Films On Amazon: Episode Links & Notes Special Guest: Keith Enright from the Criterion Completion. You can find him on Twitter 0:00 – Intro and Welcome Keith 3:40 – Keith’s FilmStruck take 12:00 – Collecting discussion 19:00 – The War Room Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: World on a Wire

Mark, Aaron and Paul Cobb look at John Frankenheimer’s political thriller, The Manchurian Candidate. We explore the originality and how it influenced other paranoia films, how it spoke to the spirit of the 1960s, as a satire towards McCarthyism, and how it has remained relevant throughout the years. About the film: The name John Frankenheimer became forever synonymous with heart-in-the-throat filmmaking when this quintessential sixties political thriller was released. Set in the early fifties, this razor-sharp adaptation of the novel by Richard Condon concerns the decorated U.S. Army sergeant Raymond Shaw (Laurence Harvey), who as a prisoner during the Korean War is brainwashed into becoming a sleeper assassin in a Communist conspiracy, and a fellow POW (Frank Sinatra) who slowly uncovers the sinister plot. In an unforgettable performance, Angela Lansbury plays Raymond’s villainous mother, the controlling wife of a witch-hunting anti-Communist senator with his eyes on the White House. The rare film that takes aim at the frenzy of the McCarthy era while also being suffused with its Cold War paranoia, The Manchurian Candidate remains potent, shocking American moviemaking. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Paul M. Cobb from the Blogue Cinéastique. You can find him on Twitter. 0:00 – Intro and welcome Paul 2:55 – Paul’s Criterion Connection 11:20 – Don Hertzfeldt Revisit 12:20 – August 2016 Criterion Releases 31:10 – The Manchurian Candidate Criterion Collection: The Manchurian Candidate Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The War Room

Mark and Aaron fly back to 1939 to discuss Howard Hawks’ classic Only Angels Have Wings. We evaluate the special effects, how the film built suspense, the context of aviation in the late 1930s, and later films that embody a similar masculinity. We also reveal the winner of our Don Hertzfeldt contest and talk about region free players. About the film: Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town. There she meets a handsome and aloof daredevil pilot, played by Cary Grant, who runs an airmail company, staring down death while servicing towns in treacherous mountain terrain. Both attracted to and repelled by his romantic sense of danger, she decides to stay on, despite his protestations. This masterful and mysterious adventure, featuring Oscar-nominated special effects, high-wire aerial photography, and Rita Hayworth in a small but breakout role, explores Hawks’s recurring themes of masculine codes and the strong-willed women who question them. Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro and Welcome 1:50 – Don Hertzfeldt giveaway winner 7:55 – Podcastaggedon 12:40 – Region Free Player 18:05 – Short Takes (Everybody Wants Some, Amy, Blue Velvet, Chimes at Midnight, Son of Saul, A Vermont Romance) 39:20 – Only Angels Have Wings The Newsstand On the Screen: Out 1 and the Jacques Rivette Collection CriterionCast Chronicles 220 Electronics Multi-System Electronics Amazon Store Criterion: The Special Effects of Only Angels Have Wings Criterion: Only Angels Have Wings Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Manchurian Candidate

Mark and Aaron discuss Plain Archive, the South Korean Blu-Ray label, with input from Hyunhu Jang. He is a Producer and the Communications Manager for the label. In addition to talking about the label’s titles and their terrific packaging, we also delve into the global Blu-Ray economy and the challenges with streaming media. We discuss the 2016 Cannes lineup and share our favorite 1988 films. Episode Links & Notes 0:00 – Intro and Welcome Ghost of Plain Archive 2:55 – Thanks & Feedback on New Formats 7:25 – Hertzfeldt Giveaway Update 9:10 – Mark on First Time Watchers 14:00 – Plain Archive Discussion 37:15 – Movie Lists, 1988 Films 46:40 – Cannes 2016 54:20 – Short Takes (Hunger Games: Mockingjay Part 2, Steve Jobs, Ex Machina, Shame, Carol, Star Wars: The Force Awakens) Plain Archive Plain Archive International Facebook First Time Watchers 206: Sabotage Criterion Blues Lists Aaron’s 1988 List Mark’s 1988 List Aaron’s 1978 List Cannes 2016 Lineup Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Only Angels Have Wings

Mark and Aaron change things up by talking about a variety of topics. We delve into Don Hertzfeldt, Lady Snowblood, our recent purchases, films we’ve seen lately, Criterion news, and a strange story about a trolling incident. Episode Links & Notes 0:00 – Intro & Show Preview 2:15 – Show Format Changes 5:55 – The “Troll” Incident 14:00 – Don Hertzfeld 19:25 – Recent Purchases 31:05 – Lady Snowblood 38:35 – A Little Bit of Criterion News 51:15 – 4K TV Discussion 57:00 – Short Takes (A Poem is a Naked Person, The Miracle Worker, The Swimmer, Embrace of the Serpent, Batman v Superman: Dawn of Justice, Crimson Peak) Wrong Reel: Episode 119 Don Hertzfeldt Kickstarter CCU 23.5 – Star Wars: The Force Awakens Clouds of Sils Maria Movie Mezzanine. No Home Video: On Women-Directed Films. Criterion Response to Movie Mezzanine Criterion Forum Women Filmmakers Thread Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Boutique Labels

Mark and Aaron are joined by Michele Rosenthal, professional illustrator and Criterion fan artist. She’s also a Criterion fan, but approaches the label from a different angle compared to most collectors. We talk to her about her process, passion, and dedication, and we also discuss the June 2016 release slate with her. Episode Links & Notes Special Guest: Michele Rosenthal from Criterion Affectiont. You can find her on Twitter, Tumblr, and at her personal/professional website. 0:00 – Intro and Welcome Michele 2:15 – Michele’s Criterion Connection 7:30 – Housekeeping 9:00 – Feedback from Gross-Out 10:45 – June Criterion Releases 31:10 – Michele Rosenthal CriterionCast Interview with David Blakeslee Queers in History Tumblr Funny or Die, Robert E Lee – Children Beware! Funny or Die – Honest Snow Globes Head Antichrist Summer Hours Mon Oncle In the Mood for Love Get Michele’s Graphic Novel at FutureVisions Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: A New Show Format, Trolls, Lady Snowblood

Mark, Aaron, and Tim are seduced by plastics. We explore what turned out to be a pivotal film in Hollywood history. The Graduate paved the way for many films to come, from casting lead actors, film structure, cinematography, and to the use of music in film. We explore the complexities of Ben’s relationships, speculate about the ending, and flesh out the time period in which the film was made. About the film: One of the most beloved American films of all time, The Graduate earned Mike Nichols a best director Oscar, brought the music of Simon & Garfunkel to a wider audience, and introduced the world to a young actor named Dustin Hoffman. Benjamin Braddock (Hoffman) has just finished college and is already lost in a sea of confusion and barely contained angst when he becomes sexually involved with a friend of his parents’, the indomitable Mrs. Robinson (Anne Bancroft), before turning his attention to her college-age daughter (Katharine Ross). Visually imaginative and impeccably acted, with a clever, endlessly quotable script by Buck Henry (based on the novel by Charles Webb), The Graduate had the kind of cultural impact that comes along only once in a generation. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Tim Costa from the First Time Watchers Podcast. You can find them on Twitter and Facebook. 0:00 – Intro and Welcome Tim 4:25 – Tim’s Criterion Connection 7:00 – Criterion Chronicles discussion 9:00 – Feedback from Gross-Out 11:00 – Listener feedback 13:10 – Short Takes (The Seventh Seal, Cinema Paradiso, Spotlight) 26:00 – The Graduate LMK Film Picks: Nymphomaniac Mark’s Top 10 of 2015 First Time Watchers 200th Episode with Mark guesting. First Time Watchers: The Graduate Mark Harris: Pictures at a Revolution Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Criterion Close-Up: Criterion Art

Mark, Aaron, Cole, and Dustin are back to continue the conversation about “Gross Out” films. We explore a number of other releases. This time we strike a balance between artistry and filth, and try to find redeeming qualities in some of the films considered to be among the grossest of all time. We cover genres and movements, including Giallo, 80s horror, New French Extremity, and the Cannibal series. Subscribe to the podcast via RSS or in iTunes Episode Links & Notes Special Guests: Cole Roulain and Dustin Schultz. Cole is from the Magic Lantern Podcast. You can find them on Twitter and Facebook. You can find Dustin on Twitter. Eclipse Viewer: Oshima’s Outlaw 60s Wrong Reel: Nagisa Oshima and the Radical Cinema of Japan Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Graduate

Mark, Aaron, Cole, and Dustin go further than most people want to go. This is our exploration of the gross film, and whether the subgenre has any artistic merit. Our main episode is a deeper look at Lars von Trier’s Antichrist (2009), followed by a history of gore and violence in film, and then a discussion about Ken Russell’s The Devils (1971) and Pier Paolo Pasolini’s Salò. About the film: Lars von Trier shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and woman—a searing Willem Dafoe and Cannes best actress winner Charlotte Gainsbourg—retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guests: Cole Roulain and Dustin Schultz. Cole is from the Magic Lantern Podcast. You can find them on Twitter and Facebook. You can find Dustin on Twitter. 0:00 – Intro and Welcome. 4:40 – Spoilers & Cleanliness 7:10 – Dustin’s Criterion Connection 11:40 – David and Criterion Reflections 14:20 – Podcasting Episode Recap 17:25 – Antichrist 1:07:25 –Gross-Out Part 1 Antichrist Controversy about it being banned. Dogme 95 (Wikipedia) The Gross-Out Episode (Part One) Dustin’s Salò Article Aaron’s Salò Article Wrong Reel Salò Commentary Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Gross-Out Episode (Part Two)

Mark and Aaron are joined by JD and Brendan from InSession Film Podcast to discuss the world of film podcasting. We talk about what led us to this new medium, how the community embraces and enhances it, and how much of an impact it has on our lives. We compare it to the terrestrial radio days, and marvel at how much more captivating “friends talking to each other” can be. Subscribe to the podcast via RSS or in iTunes Episode Links & Notes Special Guest: JD Duran and Brendan Cassidy from InSession Film Podcast. You can find them on Twitter and Facebook. 0:00 – Intro & Welcome 2:10 – JD and Brendan’s Criterion Connection 11:15 – JD and Brendan on the recent Criterion releases 14:30 – Fat Girl recap 17:00 – Trust the West 19:00 – Podcasting Discussion Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Gross-Out Episode!

Mark, Aaron and Kristen Sales give Catherine Breillat’s Fat Girl a look. We look at Breillat’s methods, and the points about women in society she is trying to make. We delve into feminism, fat shaming, and the dichotomy between the lives of men and and women. We also take a close look at the shocking ending, and try to reconcile what she is trying to say about the world. About the film: Twelve-year-old Anaïs is fat. Her sister, fifteen-year-old Elena, is a beauty. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town. Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever watchful Anaïs bears witness to the corruption of her sister’s innocence. Fat Girl is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Kristen Sales from Sales on Film. You can find her on Twitter and Tumblr. 0:00 – Intro & Welcome Kristen 6:10 – Kristen’s Criterion Connections 17:50 – Busy Podcasting 22:00 – Short Takes (Chimes at Midnight, Sada, The Karate Kid) 34:00 – Fat Girl Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Podcasting

Mark and Aaron are joined by Cole & Ericca from the Magic Lantern Podcast. They are Austin, TX residents and shed a lot of insight into this landmark independent film, Richard Linklater and his involvement in the Austin Film Society. They also talk about how the film reflects the city of Austin, and how much the place has changed in the years since. About the film: Slacker, directed by Richard Linklater, presents a day in the life of a loose-knit Austin, Texas, subculture populated by eccentric and overeducated young people. Shooting on 16 mm for a mere $3,000, writer-producer-director Linklater and his crew of friends threw out any idea of a traditional plot, choosing instead to create a tapestry of over a hundred characters, each as compelling as the last. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Cole and Ericca from Magic Lantern Podcast. You can find them on Twitter and Facebook. 0:00 – Intro & Welcome Cole & Ericca 2:55 – Cole & Ericca’s Criterion Connections 6:10 – Fat Girl Delay 8:00 – Schedule Update 10:55 – Short Takes (Your Vice is a Locked Room and Only I Have the Key, Wim Wenders Retrospective, Me and Orson Welles, Anomalisa) 24:25 – Slacker Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Fat Girl

Mark and Aaron take a trip north to the wonderful world of Canada. This is a special, unscheduled episode to celebrate the O’ Canada Blogathon. We talk about all things Canadian, including our Canadian Connections, film and media culture from Canada, and two particular films from The Criterion Collection — Videodrome and My Winnipeg. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes 0:00 – Introduction to Canadian Close-Up 2:10 – Canadian Connections 9:30 – O’ Canada Blogathon 15:30 – Celebrating Canadian Culture 29:20 – Videodrome 50:10 – My Winnipeg O’ Canada HQ Aaron’s review Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Fat Girl

Mark and Aaron are joined by Matt Sheardown of … Criterion Close-Up. You heard right. Long story. Matt is also a video games expert, so we borrowed his expertise as we broke down and evaluated the controversial Criterion release of Takashi Murakami’s Jellyfish Eyes. We discuss the visuals, the influences, the intended audience, and how to classify it as a genre. We also ask the big question, which many have asked since the announcement — is it worthy of Criterion? About the film: The world-famous artist Takashi Murakami made his directorial debut with Jellyfish Eyes, taking his boundless imagination to the screen in a tale of friendship and loyalty that also addresses humanity’s propensity for destruction. After moving to a country town with his mother following his father’s death, a young boy befriends a charming, flying, jellyfish-like sprite—only to discover that his schoolmates have similar friends, and that neither they nor the town itself are what they seem to be. Pointedly set in a post-Fukushima world, Murakami’s modest-budgeted special effects extravaganza boasts unforgettable creature designs and carries a message of cooperation and hope for all ages. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Matt Sheardown from his YouTube channel. You can find him on Twitter. He is on Twitch as well. 0:00 – Intro & Welcome Matt 7:20 – Matt’s Criterion Connection 11:55 – Schedule Update 14:40 – Short Takes (Odd Man Out, Mustang, Room, The Revenant, The Room, Head) 38:15 – Jellyfish Eyes https://www.youtube.com/watch?v=cU4I5cR3b8U Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Fat Girl

Mark, Aaron and Keith Enright give a look at D.A. Pennabaker’s documentary portrait of Bob Dylan in Dont Look Back (the no apostrophe is intentional). This was a pivotal period in the artist’s career, and both the film and the music were influential. We dig deep as to what type of persona Dylan revealed, the cinéma vérité filmmaking style that captured him in his element, and also his attitude towards the press and others who wanted to label him. About the film: Bob Dylan is captured on-screen as he never would be again in this groundbreaking film from D. A. Pennebaker. The legendary documentarian finds Dylan in England during his 1965 tour, which would be his last as an acoustic artist. In this wildly entertaining vision of one of the twentieth century’s greatest artists, Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price. Featuring some of Dylan’s most famous songs, including “Subterranean Homesick Blues,” “The Times They Are A-Changin’,” and “It’s All Over Now, Baby Blue,” Dont Look Back is a radically conceived portrait of an American icon that has influenced decades of vérité behind-the-scenes documentaries. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro & Welcome Keith 3:30 – Caitlin Kuhwald Aftermath 9:40 – Schedule Update 11:10 – Aaron’s Blog Announcement 14:35 – Arik’s Criterion Presentation 12:20 – 18:15 – Short Takes (The Apu Trilogy, My Golden Years, Hollis Frampton Odyssey, La Ronde, Labyrinth, Revanche) 33:00 – The Newsstand 34:45 – Dont Look Back FB Photo Album Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Jellyfish Eyes

Illustrator extraordinaire Caitlin Kuhwald joins us to talk about her artwork and the Criterion Collection. She is a professional artist and has worked extensively with The Criterion Collection, illustrating covers for Amarcord, To Be or Not to Be, The Organizer, and many others. She talks about her film tastes including unveiling a new Criterion Top Ten, talks about how Criterion champions illustration, and weighs in on recent covers. Episode Links & Notes Special Guest: Caitlin Kuhwald from Caitlin Kuhwald Illustration. You can find her on Facebook, Tumblr, Twitter, Instagram, and Pinterest. Caitlin Kuhwald’s Criterion Top 10 Erik Skillman blog about Amarcord Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Dont Look Back, D.A. Pennebaker

This is our first bonus episode and we look at the behemoth of the moment, Star Wars: The Force Awakens. This is a fun little detour from our usual serious, arthouse type of podcast. We tried to approach the movie as both fans and discerning cinephiles and give it an honest look. Show notes: Special Guest: David Blakeslee from Criterion Reflections, CriterionCast, and The Eclipse Viewer. You can find him on Twitter. Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: A Conversation with a Criterion Cover Artist

This is the first Criterion Close-Up double feature. Mark and Aaron take a close look at two films from Bruce Beresford, released theatrically a decade apart and just recently as part of The Criterion Collection. We look at Breaker Morant and how it reconciled British Colonialism on both its subjects and enemies, and how it dispensed justice. We then look at Mister Johnson, which deals with colonial issues such as commerce and civilization. About the films: At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove that they were just following orders and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history, and featuring passionate performances by Edward Woodward, Bryan Brown, and Jack Thompson; rugged cinematography by Donald McAlpine; and an Oscar-nominated script, based on true events. A decade after he broke through with Breaker Morant, Australian director Bruce Beresford made another acclaimed film about the effects of colonialism on the individual. In a performance that earned him the Berlin Film Festival’s Silver Bear for best actor, Maynard Eziashi plays the title character, a Nigerian villager eager to work as a civil servant for the British authorities, including a sympathetic district officer (Pierce Brosnan), in the hope that it will benefit him in the future. Instead, his ambition leads to his tragic downfall. Mister Johnson, based on the 1939 novel by Joyce Cary, is a graceful, heartfelt drama about the limits of idealism, affectingly acted and handsomely shot. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro 2:55 – Criterion Connection 5:00 – Overview of Show for CriterionCast Listeners 8:50 – Schedule Changes 10:15 – Changes to News 12:20 – What Have We Seen Lately? aka Short Takes 22:00 – Breaker Morant 1:15:15 – Mister Johnson Podcast Schedule CriterionCast Newsstand Episode Breaker Morant Facebook Photo Album Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: A Conversation with a Criterion Cover Artist

Mark and Aaron start the New Year as members of CriterionCast, and jump into the world of Merchant Ivory’s A Room with a View. With such a lavish, large production with quite an ensemble of characters, there is a lot to say. We discuss the social constraints placed upon the characters, and how some groups have opposing world views that resemble traditional versus modernity, while also touching on the nature of wealth, class, and even gender. We also enjoy discussing how the film surprisingly works as a dry comedy, and we are pleased to have Merchant & Ivory back in print in the Criterion Collection. About the film: Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with A Room with a View, the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent- minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit (Julian Sands) she meets on vacation in Florence and the priggish bookworm (Daniel Day-Lewis) to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast–including Subscribe to the podcast via RSS or in iTunes Buy The Film On Amazon: Episode Links & Notes 0:00 – Intro, Criterion Cast Announcement 7:00 – New Year’s Discussion 13:30 – Ghost of Trevor 14:55 – CriterionCast Blu-Ray discussion 19:35 – New Week’s Guest 21:15 – Not Really Any News 23:55 – A Room with a View CriterionCast Announcement CriterionCast Master Feed CriterionCast Blu-Ray Wish list episode CriterionCast Favorites of 2015 CriterionCast Wacky New Year’s Drawing A Room With a View Trevor’s A Room with a View review Criterion | IMDB Cohen Media Group Acquires Merchant Ivory Titles Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Bruce Beresford’s Breaker Morant, Mister Johnson