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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 5:24 am 

Joined: Wed Nov 17, 2010 3:49 pm
I'm wondering if the lack of HD for L'Avventura on Hulu is a sign we'll have to wait a while for the blu-ray release. They already have L'Eclisse up in HD.


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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 7:55 am 
not perpee
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Fred Holywell wrote:
Based on the Janus re-release trailer, it seems they're going with 1.85:1.
Just a few months ago, the new Janus trailer for SAFETY LAST cropped it to 1.78:1, so it's not a great indicator!


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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 3:50 pm 
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peerpee wrote:
Fred Holywell wrote:
Based on the Janus re-release trailer, it seems they're going with 1.85:1.
Just a few months ago, the new Janus trailer for SAFETY LAST cropped it to 1.78:1, so it's not a great indicator!
I knew someone would say something like that !


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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 3:52 pm 
Dot Com Dom
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Harold Lloyd was such a genius though, surely he composed for both ratios. I'm just saying, couldn't you make the argument that Safety Last looks better in widescreen? We aren't watching it in the twenties, you know! Until I see definitive proof, I'm going to assume it looks more correct in 1.78


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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 4:06 pm 
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domino harvey wrote:
Harold Lloyd was such a genius though, surely he composed for both ratios. I'm just saying, couldn't you make the argument that Safety Last looks better in widescreen? We aren't watching it in the twenties, you know! Until I see definitive proof, I'm going to assume it looks more correct in 1.78

You may have something there...

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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 6:11 pm 
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Your crop is just a little high there. Nudge it to get his foot in there just right and I think you've cracked the case.


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 Post subject: Re: 678 La notte
PostPosted: Wed Jul 17, 2013 6:55 pm 
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Nah, you need to crop it so that you can't see that Harold is actually hanging from the clock and might as well be standing on a box just off-frame. Way more dramatically effective.


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 Post subject: Re: 678 La notte
PostPosted: Sun Sep 22, 2013 9:37 pm 

Joined: Thu Jun 05, 2008 1:47 pm
Beaver on MoC's BD

It seems most of the information lost is at the top of the frame. The bottom seems intact.

Quick, someone ask Gary about the boobs :P


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 Post subject: Re: 678 La notte
PostPosted: Fri Oct 04, 2013 11:16 am 
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Blu-ray.com on the Criterion
Much better score on the picture quality than the MoC


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 Post subject: Re: 678 La notte
PostPosted: Fri Oct 04, 2013 3:29 pm 
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manicsounds wrote:
Blu-ray.com on the Criterion
Much better score on the picture quality than the MoC


Be aware that Svet took one point off for almost only the compression issues, which seems to be mostly chroma issues.


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 Post subject: Re: 678 La notte
PostPosted: Fri Oct 04, 2013 6:53 pm 
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Location: Edinburgh, UK
Aye, 4.5 as opposed to 3.5 doesn't exactly translate to a "much better" score. Still, if I get the film at some point, it'll likely be the Criterion.


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 Post subject: Re: 678 La notte
PostPosted: Thu Oct 10, 2013 2:19 am 
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Location: Dublin
Beaver wades in...


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:33 pm 

Joined: Thu Jun 05, 2008 1:47 pm
After watching the new disc, I feel like 1.85 seems like the right ratio more often than not. We have no idea what MA really intended, but there are so many shots here where losing a bit of information on the sides would seem slightly off, while losing some information at the top seems less important to most of the compositions. There's one that sticks out in my mind, when Giovanni pulls his car up in front of a house and you see him get out. The entire car just makes it into the frame in 1.85, but in 1.66 it would cut off the trunk of the car. A better example can be seen in the Beaver review. The one shot with Giovanni in the background placed between a sitting Lidia in the middle ground and Valentina in the foreground would be slightly compromised in 1.66, as part of Lidia's head would surely fall outside of the frame.


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:38 pm 
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Why do you assume a 1.66 ratio would remove info from the sides rather than simply add more at the top and bottom?


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:41 pm 

Joined: Thu Jun 05, 2008 1:47 pm
Donald Brown wrote:
Why do you assume a 1.66 ratio would remove info from the sides rather than simply add more at the top and bottom?



Because all of the previous 1.66 releases of La Notte did remove info from the sides. Look at the Beaver review and see the comparisons. In some cases it is quite dramatic.


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:42 pm 
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Yes, I realize that, but that needn't necessarily be the case.


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:47 pm 
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For your suggestion, Donald, to be right though that means every 1.66 DVD thus far has deliberately taken away a fitting amount from the negative which seems silly. Given the information available from previous DVDs the simplest and thus most likely answer is that the negative is the 1.85 we see here which previously was cropped to the European standard on the assumption it was the standard.


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 1:58 pm 
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Sure, but the way jojo worded his comment gave the impression that adding information at the top and bottom of a 1.66 transfer would be accompanied by the loss of information on the sides. That needn't be the case when working from a full frame neg, though it certainly does seem likely that the neg for La Notte is hard-matted to a wider ratio.


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 Post subject: Re: 678 La notte
PostPosted: Sat Nov 02, 2013 2:10 pm 

Joined: Thu Jun 05, 2008 1:47 pm
No, I didn't mean to say that adding info at the top and bottom would be accompanied by loss of information at the sides and vice versa. I said that in this particular case, the slight loss at the top on these blu-ray editions seems less important than loss at the sides in the previous DVD editions, but I definitely didn't mean that it was an either-or case.


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 Post subject: Re: 678 La notte
PostPosted: Mon Nov 18, 2013 8:17 am 
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A few thoughts on this. Not my favorite Antonioni, but is some exquisite moments, particularly Moreau's solo trek through the city.


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 Post subject: Re: 678 La notte
PostPosted: Mon Nov 25, 2013 12:59 pm 
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After seeing this film a handful of times over the last 15 years or so, I feel like I finally connect with and understand it for the first time after watching it again last night. I had always just thought it was two boring people being boring and being bored with each other. But when I started to think about it during Lidia's walk through the city, it clicked that the devastation of the war is still within recent memory and there's this new modern, alien city sprouting up from the ashes of the ruined city. After being shaken by seeing her friend (and not-quite lover) at the brink of death, Lidia seems to find the old city as comforting as the angular concrete and steel structures rising up around her are alienating. Nostalgia. The way things used to be. But she's unable to express this clearly, or unable even to recognize that that's how she feels. It all seems kind of obvious to me now, but I was never able to grasp that from my previous viewings.

Watching the Adriano Aprà interview helped congeal these thoughts for me, particularly the part where he talks about how Moreau and Mastroianni were disappointed by the film because they were instructed to be completely restrained in movement and emotional expression. I had never thought about Antonioni using an almost Bressonian direction of actors, but it makes perfect sense for this film (and for Monica Vitti in the other two films of the trilogy). And it is wonderfully perverse to hire these two huge international movie stars to stand around like tree trunks.


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 Post subject: Re: 678 La notte
PostPosted: Thu Nov 28, 2013 12:54 pm 

Joined: Wed Nov 03, 2004 9:11 pm
La Notte is my favorite Italian film. It's one of a handful of films which I return to frequently. The Criterion Blu-ray looks wonderful. In fact, I bought two copies :)

I finished watching the Criterion Blu-ray last night. I was surprised to see a strand of something showing up in the upper right-hand corner of the screen at around the 1:43:10 mark (the scene of Moreau coming into Vitti's room to dry her hair). It remains there, flickering, for maybe a minute. It's distracting. I don't think this has been mentioned in any of the reviews that I've read.


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 Post subject: Re: 678 La notte
PostPosted: Thu Nov 28, 2013 1:42 pm 
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It's just a hair or piece of dust in the camera's film gate. It happens a few times in this film and in countless other films. It's in the original negative. Nothing to raise a fuss over.


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 Post subject: Re: 678 La notte
PostPosted: Thu Nov 28, 2013 1:52 pm 
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The film was impeccably shot by the great cinematographer Gianni di Venanzo, so apart from these insignificant 'hairs in the gate' there can really be no complaining...

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 Post subject: Re: 678 La notte
PostPosted: Thu Nov 28, 2013 3:12 pm 

Joined: Wed Nov 03, 2004 9:11 pm
I totally agree that the film was impeccably shot. La Notte is one of the most beautifully looking films I have seen, in addition to being one of the great films of international cinema (IMHO).

Ahhh, the "hairs" ! They have the habit of showing up every where ... Likely and unlikely places. I ended up staring at that hair in La Notte for two minutes ... The first time around and upon a rewind :D


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