Of the 4K titles announced, I’m definitely getting the Red Shoes, and considering the others.
Alright, then! And here’s my thoughts on Stalker!
I can describe Stalker in a few terms; labyrinthian, enigmatic, despairing. These terms apply not only to The Zone within the film, but the film itself.
Even though a good hour and a half of this film is set in essentially one location (the building in which houses The Room and the surrounding area just outside), the film makes a dream-like and confused journey of it, with characters disappearing from frame on one side and reappearing again on the other as the camera pans over, or characters getting left behind only show up again as the others press on ahead. The masterful camerawork shows us so much, each shot perfectly framed, and yet, we are never convinced that we are being guided through anything less than a open spaced maze. The viewer is never sure where they are going, where they are or where they have been and through it all, likely left feeling as lost as the Writer and Professor must have felt as they follow the Stalker’s lead though the enigma they know as The Zone.
The Zone is utterly confounding. One is never at any point sure what is possible in this place or of what it’s capable. We know that many have disappeared here or otherwise met their demises, but we never see by what means their fates have been met. Tanks and various vehicles lie desolate, a pair a skeletons lay forgotten in a final, eternal embrace. We are told The Porcupine’s brother was killed during a venture to The Room, but otherwise we have little to go on as to what happens to those who evoke The Zone’s punishment. And what is it that’s behind The Zone? Aliens? God? Something unfathomable perhaps. Is it even something with consciousness? Perhaps it’s an unimportant question, really. What we know is that The Zone and the consequences for “disrespecting” it are real.
And The Room with it’s promise of granting one’s innermost, secret desire is real, as evidence by the unseen Porcupine character, who committed suicide one week after returning The Room. The Room is a deeply troubling concept, and it’s function seems to be, rather than the bland “your wish has been granted” type miracle that some a who have ventured to that place presumed it would be, but rather a journey to meet oneself, one’s true inner self, which can be soul-crushing and traumatizing, as your secret, unconscious desire is laid bare to be reckoned with. Porcupine, in his conscience mind, thought to bring his brother back from the dead, only to be rewarded with a big pile of money once he returned home. Most of us consider ourselves good, well-intentioned people, but how many of us would also find a pile of cash once we got home? Even if consciously we set out to fulfill a desire of noble intent? The Room, in a way, is a mirror for looking into one’s own ‘soul’, which I think would break many of us. And in the end, the Stalker’s clients wisely chose not to enter. I think that only those who have pure hearts, either pure goodness or evil, could theoretically use The Room with satisfaction. But it begs the question if anybody like that actually exists. The Professor sets out with the intention of destroying The Room, lest it fall into the hands of an evil sort, but who knows if somebody as such could even make it that far into The Zone? Either way, The Room is not what you’d imagine it would be at first based on a simple one sentence description of it.
A few more things about movie; This is a near perfect film, I’d say. Given the time and place (and production setbacks as well), one can easily forgive the very few technical imperfections and Stalker is about as perfect as one could possibly hope for it to be. As I said, the camerawork is masterful. Every shot in the film can be used as a desktop background. I love the use of sepia-tone in this film. It somehow feels more colourless than black & white. To me, I interpret the colour change shifts to reflect The Stalker character’s hope, as all parts of the film that are in full colour are in The Zone or focused on his daughter (I love that colour shot that starts off appearing as if his daughter is walking on her own, implying the wishes he holds for her future.)
The best films have the least amount of editing and the editing very restrained (I doubt Tarkovsky shot much coverage at all). Because shots last so long (and not without purpose) there are many, many, many shots that will stick with you long after you’ve seen it. The sound design is on point. The acting is wonderfully restrained at most times, but when the actors are required to give strong emotional performances, they deliver splendidly. The music, also restrained, provides so much whenever it is used, adding to the strange atmosphere. Perhaps what I enjoy the most is the film’s atmosphere. The desolate, quiet and lonely nature of the world, as we see it, really speaks to me and reminds me alot of Eraserhead in a sense. It sounds weird, but I kinda want to visit the areas as portrayed in this film.
I would probably give the film a 9/10 overall. Very close to a 10 out of 10. I will, likely, never fully understand this film, and I’m fine with that. Stalker will be a film I’ll keep returning to and maybe I can grasp a little more of it’s truth (and perhaps my own) with each subsequent viewing.
TD;DR - Stalker is a masterpiece.
Apologies for not getting back to you sooner. I’m really glad you had such impactful viewings of Stalker. I’m not sure what else to add at the moment but I really enjoyed reading your thoughts. I think I need to revisit The Zone as I truly wonder how my prospective will change with another viewing. I just know from my first viewing it’s left me scarred after all these years and I can see the difference between my perception of life before and after that fateful experience.
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Added:
Ingmar Bergman’s Cinema
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Alright, then! And here’s my thoughts on Stalker!
I can describe Stalker in a few terms; labyrinthian, enigmatic, despairing. These terms apply not only to The Zone within the film, but the film itself.
Even though a good hour and a half of this film is set in essentially one location (the building in which houses The Room and the surrounding area just outside), the film makes a dream-like and confused journey of it, with characters disappearing from frame on one side and reappearing again on the other as the camera pans over, or characters getting left behind only show up again as the others press on ahead. The masterful camerawork shows us so much, each shot perfectly framed, and yet, we are never convinced that we are being guided through anything less than a open spaced maze. The viewer is never sure where they are going, where they are or where they have been and through it all, likely left feeling as lost as the Writer and Professor must have felt as they follow the Stalker’s lead though the enigma they know as The Zone.
The Zone is utterly confounding. One is never at any point sure what is possible in this place or of what it’s capable. We know that many have disappeared here or otherwise met their demises, but we never see by what means their fates have been met. Tanks and various vehicles lie desolate, a pair a skeletons lay forgotten in a final, eternal embrace. We are told The Porcupine’s brother was killed during a venture to The Room, but otherwise we have little to go on as to what happens to those who evoke The Zone’s punishment. And what is it that’s behind The Zone? Aliens? God? Something unfathomable perhaps. Is it even something with consciousness? Perhaps it’s an unimportant question, really. What we know is that The Zone and the consequences for “disrespecting” it are real.
And The Room with it’s promise of granting one’s innermost, secret desire is real, as evidence by the unseen Porcupine character, who committed suicide one week after returning The Room. The Room is a deeply troubling concept, and it’s function seems to be, rather than the bland “your wish has been granted” type miracle that some a who have ventured to that place presumed it would be, but rather a journey to meet oneself, one’s true inner self, which can be soul-crushing and traumatizing, as your secret, unconscious desire is laid bare to be reckoned with. Porcupine, in his conscience mind, thought to bring his brother back from the dead, only to be rewarded with a big pile of money once he returned home. Most of us consider ourselves good, well-intentioned people, but how many of us would also find a pile of cash once we got home? Even if consciously we set out to fulfill a desire of noble intent? The Room, in a way, is a mirror for looking into one’s own ‘soul’, which I think would break many of us. And in the end, the Stalker’s clients wisely chose not to enter. I think that only those who have pure hearts, either pure goodness or evil, could theoretically use The Room with satisfaction. But it begs the question if anybody like that actually exists. The Professor sets out with the intention of destroying The Room, lest it fall into the hands of an evil sort, but who knows if somebody as such could even make it that far into The Zone? Either way, The Room is not what you’d imagine it would be at first based on a simple one sentence description of it.
A few more things about movie; This is a near perfect film, I’d say. Given the time and place (and production setbacks as well), one can easily forgive the very few technical imperfections and Stalker is about as perfect as one could possibly hope for it to be. As I said, the camerawork is masterful. Every shot in the film can be used as a desktop background. I love the use of sepia-tone in this film. It somehow feels more colourless than black & white. To me, I interpret the colour change shifts to reflect The Stalker character’s hope, as all parts of the film that are in full colour are in The Zone or focused on his daughter (I love that colour shot that starts off appearing as if his daughter is walking on her own, implying the wishes he holds for her future.)
The best films have the least amount of editing and the editing very restrained (I doubt Tarkovsky shot much coverage at all). Because shots last so long (and not without purpose) there are many, many, many shots that will stick with you long after you’ve seen it. The sound design is on point. The acting is wonderfully restrained at most times, but when the actors are required to give strong emotional performances, they deliver splendidly. The music, also restrained, provides so much whenever it is used, adding to the strange atmosphere. Perhaps what I enjoy the most is the film’s atmosphere. The desolate, quiet and lonely nature of the world, as we see it, really speaks to me and reminds me alot of Eraserhead in a sense. It sounds weird, but I kinda want to visit the areas as portrayed in this film.
I would probably give the film a 9/10 overall. Very close to a 10 out of 10. I will, likely, never fully understand this film, and I’m fine with that. Stalker will be a film I’ll keep returning to and maybe I can grasp a little more of it’s truth (and perhaps my own) with each subsequent viewing.
TD;DR - Stalker is a masterpiece.
Apologies for not getting back to you sooner. I’m really glad you had such impactful viewings of Stalker. I’m not sure what else to add at the moment but I really enjoyed reading your thoughts. I think I need to revisit The Zone as I truly wonder how my prospective will change with another viewing. I just know from my first viewing it’s left me scarred after all these years and I can see the difference between my perception of life before and after that fateful experience.
Now, I need to start considering the next Tarkovsky film for a viewing. Not sure where to go next after Stalker and Solaris.
Alright, then! And here’s my thoughts on Stalker!
I can describe Stalker in a few terms; labyrinthian, enigmatic, despairing. These terms apply not only to The Zone within the film, but the film itself.
Even though a good hour and a half of this film is set in essentially one location (the building in which houses The Room and the surrounding area just outside), the film makes a dream-like and confused journey of it, with characters disappearing from frame on one side and reappearing again on the other as the camera pans over, or characters getting left behind only show up again as the others press on ahead. The masterful camerawork shows us so much, each shot perfectly framed, and yet, we are never convinced that we are being guided through anything less than a open spaced maze. The viewer is never sure where they are going, where they are or where they have been and through it all, likely left feeling as lost as the Writer and Professor must have felt as they follow the Stalker’s lead though the enigma they know as The Zone.
The Zone is utterly confounding. One is never at any point sure what is possible in this place or of what it’s capable. We know that many have disappeared here or otherwise met their demises, but we never see by what means their fates have been met. Tanks and various vehicles lie desolate, a pair a skeletons lay forgotten in a final, eternal embrace. We are told The Porcupine’s brother was killed during a venture to The Room, but otherwise we have little to go on as to what happens to those who evoke The Zone’s punishment. And what is it that’s behind The Zone? Aliens? God? Something unfathomable perhaps. Is it even something with consciousness? Perhaps it’s an unimportant question, really. What we know is that The Zone and the consequences for “disrespecting” it are real.
And The Room with it’s promise of granting one’s innermost, secret desire is real, as evidence by the unseen Porcupine character, who committed suicide one week after returning The Room. The Room is a deeply troubling concept, and it’s function seems to be, rather than the bland “your wish has been granted” type miracle that some a who have ventured to that place presumed it would be, but rather a journey to meet oneself, one’s true inner self, which can be soul-crushing and traumatizing, as your secret, unconscious desire is laid bare to be reckoned with. Porcupine, in his conscience mind, thought to bring his brother back from the dead, only to be rewarded with a big pile of money once he returned home. Most of us consider ourselves good, well-intentioned people, but how many of us would also find a pile of cash once we got home? Even if consciously we set out to fulfill a desire of noble intent? The Room, in a way, is a mirror for looking into one’s own ‘soul’, which I think would break many of us. And in the end, the Stalker’s clients wisely chose not to enter. I think that only those who have pure hearts, either pure goodness or evil, could theoretically use The Room with satisfaction. But it begs the question if anybody like that actually exists. The Professor sets out with the intention of destroying The Room, lest it fall into the hands of an evil sort, but who knows if somebody as such could even make it that far into The Zone? Either way, The Room is not what you’d imagine it would be at first based on a simple one sentence description of it.
A few more things about movie; This is a near perfect film, I’d say. Given the time and place (and production setbacks as well), one can easily forgive the very few technical imperfections and Stalker is about as perfect as one could possibly hope for it to be. As I said, the camerawork is masterful. Every shot in the film can be used as a desktop background. I love the use of sepia-tone in this film. It somehow feels more colourless than black & white. To me, I interpret the colour change shifts to reflect The Stalker character’s hope, as all parts of the film that are in full colour are in The Zone or focused on his daughter (I love that colour shot that starts off appearing as if his daughter is walking on her own, implying the wishes he holds for her future.)
The best films have the least amount of editing and the editing very restrained (I doubt Tarkovsky shot much coverage at all). Because shots last so long (and not without purpose) there are many, many, many shots that will stick with you long after you’ve seen it. The sound design is on point. The acting is wonderfully restrained at most times, but when the actors are required to give strong emotional performances, they deliver splendidly. The music, also restrained, provides so much whenever it is used, adding to the strange atmosphere. Perhaps what I enjoy the most is the film’s atmosphere. The desolate, quiet and lonely nature of the world, as we see it, really speaks to me and reminds me alot of Eraserhead in a sense. It sounds weird, but I kinda want to visit the areas as portrayed in this film.
I would probably give the film a 9/10 overall. Very close to a 10 out of 10. I will, likely, never fully understand this film, and I’m fine with that. Stalker will be a film I’ll keep returning to and maybe I can grasp a little more of it’s truth (and perhaps my own) with each subsequent viewing.
TD;DR - Stalker is a masterpiece.
Apologies for not getting back to you sooner. I’m really glad you had such impactful viewings of Stalker. I’m not sure what else to add at the moment but I really enjoyed reading your thoughts. I think I need to revisit The Zone as I truly wonder how my prospective will change with another viewing. I just know from my first viewing it’s left me scarred after all these years and I can see the difference between my perception of life before and after that fateful experience.
Now, I need to start considering the next Tarkovsky film for a viewing. Not sure where to go next after Stalker and Solaris.
I’d say Andrei Rublev, The Sacrifice, or Mirror.
Andrei Rublev - 15th century historical epic with lots of wisdom towards faith in dark times. It’s a very moving experience.
The Sacrifice - It’s a true tragedy with ultimate light and hope. It has some of my favourite dialogue of his films and in general.
Mirror - My favourite film by him. It’s an exploration of memory in time and space itself. There’s a strong sense of familiarity with it. I’d say wait on watching it but I’m suggesting it anyways.
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Just ordered Days of Heaven. Amazon has a great deal on it and it is probably best to order now if you want it as it’s out of print and everywhere else is charging insane prices.
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
I’m looking forward to watching the Criterion editions of a Hard Day’s Night, and The Wizard of Oz on laserdisc. Just have to find a good deal. I’m seeing tons of criterion titles for cheap on laserdisc. Yeah there are some that are way out of reach. Mostly rare titles, early titles or CAV editions. But a lot for 10 dollars or less or 12 bucks here or there. Some for 20 or 25. The ones fetching a hundred they can keep and i won’t pay 50 for anything. Except maybe Akira triple gatefold but i can’t find it in the condition i want it in.
My current Criterion Discs:
The American Friend
The Asphalt Jungle
Brazil
Lady Snowblood
The Darjeeling Limited
The Game
Harold and Maude
His Girl Friday
The In-Laws
Inside Llewyn Davis
The Killers
Kiss Me Deadly
The Lady Vanishes
The Life and Death of Colonel Blimp
The Life Aquatic
Mulholland Drive
My Own Private Idaho
The Night of the Hunter
Night Train to Munich
Only Angels Have Wings
Rififi
The Royal Tenenbaums
The Spy Who Came in from the Cold
Sweet Smell of Success
Thief
Added:
Essential Fellini
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Added:
Brazil
Paris, Texas
Wings of Desire
Inside Llewyn Davis
I’m really looking forward to exploring Terry Gilliam and Wim Wenders. I’ve been intrigued by them both for quite awhile now. I only know Terry Gilliam from Monty Python. It should be good to get into his personal filmography. Brazil seems like the best place to start. I’m equally very excited to get into German cinema properly by way of Wim Wenders.
I don’t know much about the Coen Brothers either but I’m excited to watch another film with both Oscar Isaac and Adam Driver that delves into folk music. It’s one of my favourite music genres. The great thing in addition to the film is the Criterion version includes a concert. Great value!
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
I found the Criterion DVD releases of Yojimbo and Sanjuro in my collection and i had forgotten that i had bought them. Another set of movies i will rewatch.
Added:
After Life
Until the End of the World
I’m hoping to add a few more before the end of the sale.
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Added:
The Samurai Trilogy
The Three Colours Trilogy
The Essential Jacques Demy
Something Wild
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
My current Criterion Collection collection:
Godzilla (1954)
that’s it.
I’m not really that much of a movie purist. I really should’ve thought my name out a bit more.
Just finished Andrei Rublev on the Criterion Channel today. I hate to say, this film I think went above me. I don’t believe I was able to fully be taken in by the plot of the film. Obviously, it’s technically marvelous. Top notch camerawork as always from Tarkovsky and the city sacking sequence was quite impressive. The acting fantastic, writing quite good, but I really had a hard time getting myself invested in the plot and characters. Whenever I trying watching the film, within about 20 minutes my eyelids try to slam shut, even though I am trying so hard to engross myself in what’s happening. Maybe I’ll try another viewing again in the future, but I’m not so sure this is my kind of film.
Now, before my CC subscription expires, I intend to view the 7 hour Hungarian film Sátántangó from director Béla Tarr. We’ll see how that goes.
Added:
The Age of Innocence
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Added:
The American Friend
Wim Wenders: The Road Trilogy
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas
Added:
Blue Velvet
Black Narcissus
“Heroes come in all sizes, and you don’t have to be a giant hero. You can be a very small hero. It’s just as important to understand that accepting self-responsibility for the things you do, having good manners, caring about other people - these are heroic acts. Everybody has the choice of being a hero or not being a hero every day of their lives.” - George Lucas