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Plus if anyone would release it in the UK, it’d be the BFI since they already did so on DVD.

rapta wrote: Thu May 08, 2025 10:39 am I think 121 will be Le notti bianche, as both this and Senso were in the 2025 teaser list ('SEN' and 'NB').

I don't think they'd give a later film an earlier spine, it's definitely going to be 124.

TechnicolorAcid wrote: Thu May 08, 2025 11:12 am Plus if anyone would release it in the UK, it’d be the BFI since they already did so on DVD.

That doesn't necessarily follow, since the BFI disc appears to be long OOP, and came out something like two decades or more ago. So I doubt they've been renewing the rights.

I wasn't holding my breath too much as I was under the impression this would be sourced from a non-descript "HD master", but it's actually described as a 2K restoration made from a 1st generation 35mm dupe positive and a dupe negative. However, it looks like a much older master, closer to a 2000s Italian HD master, all wobbly and thick and EEd. The copyright at the end of the movie says 2004, so I guess that's indeed it.

senseabove wrote: Wed Mar 05, 2025 6:30 pm Especially since this is, presumably, the restoration that's been around since at least 2018! I wasn't able to make it to that screening, but consoled myself thinking it would surely be out on disc sooner rather than later.

I'm thus wondering what was this digital restoration : was it simply a non-descript way to say "it's technically restored, and it was done digitally", thus covering pretty much anything ? Or is there a different restoration around that Radiance couldn't licence for whatever reason ?

In any case, it's kinda fine for what it is considering how little activity there has been on video for this Visconti, but if I had to score the PQ, I wouldn't be able to go higher than 6 out of 10.

tenia wrote: Wed Jun 25, 2025 9:07 pm I wasn't holding my breath too much as I was under the impression this would be sourced from a non-descript "HD master", but it's actually described as a 2K restoration made from a 1st generation 35mm dupe positive and a dupe negative. However, it looks like a much older master, closer to a 2000s Italian HD master, all wobbly and thick and EEd. The copyright at the end of the movie says 2004, so I guess that's indeed it.

I think it may be the master used for the decent Ripley's Home Video 2 disc Italian SE DVD released back in 2009, certainly the three archival interviews seem the same... I would also query if the image has been cropped at some stage - the framing seems on many occasions somewhat cramped, atypical of Cinematographer G. R. Aldo and Camera Operator Gianni Di Venanzo...

Finch wrote: Wed May 07, 2025 10:11 am
LIMITED EDITION BLU-RAY FEATURES

Luchino Visconti: Life as in a Novel - a documentary on Visconti’s life and career featuring contributions from Claudia Cardinale, Burt Lancaster, Francesco Rosi and more (dir. Carlo Lizzani, 1999)

Is this the same doc on Arrow’s Ludwig?

domino harvey wrote: Fri Jul 18, 2025 4:09 pm

Finch wrote: Wed May 07, 2025 10:11 am
LIMITED EDITION BLU-RAY FEATURES

Luchino Visconti: Life as in a Novel - a documentary on Visconti’s life and career featuring contributions from Claudia Cardinale, Burt Lancaster, Francesco Rosi and more (dir. Carlo Lizzani, 1999)

Is this the same doc on Arrow’s Ludwig?

I believe it's a different one, as Letterboxd shows that Carlo Lizzani made 2 documentaries about Visconti. However, I think Radiance put the wrong year on their listing, as LB shows that it was released in 2008.

yoloswegmaster wrote: Fri Jul 18, 2025 4:22 pm

domino harvey wrote: Fri Jul 18, 2025 4:09 pm

Finch wrote: Wed May 07, 2025 10:11 am
LIMITED EDITION BLU-RAY FEATURES

Luchino Visconti: Life as in a Novel - a documentary on Visconti’s life and career featuring contributions from Claudia Cardinale, Burt Lancaster, Francesco Rosi and more (dir. Carlo Lizzani, 1999)

Is this the same doc on Arrow’s Ludwig?

I believe it's a different one, as Letterboxd shows that Carlo Lizzani made 2 documentaries about Visconti. However, I think Radiance put the wrong year on their listing, as LB shows that it was released in 2008.

When I was cataloguing my collection, I think I noted this as erroneous, but I've not actually checked. I think this same doc is on Arrow's Ludwig, MoC's Rocco and Criterion's Death in Venice.

TMDaines wrote: Tue Jul 22, 2025 1:24 pm

yoloswegmaster wrote: Fri Jul 18, 2025 4:22 pm

domino harvey wrote: Fri Jul 18, 2025 4:09 pm

Is this the same doc on Arrow’s Ludwig?

I believe it's a different one, as Letterboxd shows that Carlo Lizzani made 2 documentaries about Visconti. However, I think Radiance put the wrong year on their listing, as LB shows that it was released in 2008.

When I was cataloguing my collection, I think I noted this as erroneous, but I've not actually checked. I think this same doc is on Arrow's Ludwig, MoC's Rocco and Criterion's Death in Venice.

As far as I can see, there is essentially only the one documentary directed by Carlo Lizzani on Luchino Visconti - this from 1999 which is on all the releases outlined, albeit in slightly different manifestations... I've checked the discs and Rocco & Ludwig have a copyright card at the end of the documentary film stating © 1999 RAI- Felix Film - NDR while Death In Venice seems to have similar content but with the copyright card at the end stating © 2008 Felix Film, the date Felix Film currently record themselves on this website page... This version runs 55 minutes but there is also an alternative earlier version running 60 minutes from the aforesaid 1999 production date recorded on this other Felix Film webpage... Hence the element of complication & confusion...
This is what IMDB record as the release dates - it may be that following its Italian Venice Film Festival & TV debut in 1999, it was not until 2008 that it received a general release in cinemas...

Italy - September 6, 1999 (Venice Film Festival)
Itally - September 7, 1999 (TV premiere)
Russia - June 23, 2002 (Moscow Film Festival)
Italy - 2008
Uruguay - April 16, 2010

How does "Senso" from Radiance compare with that from Criterion?
I could not find any information on it here.
Thanks.

kekid wrote: Mon Aug 18, 2025 4:38 pm How does "Senso" from Radiance compare with that from Criterion?

From Mondo Digital:

In 2025, Radiance Films issued its own special edition of Senso on Blu-ray as a two-disc set working from the same 2K restoration. However, they've done a major color correction overhaul that snaps everything back into a vibrant Technicolor look with actual whites and reds finally restored; it's easily the best viewing option out there to date. In an interesting touch, the second disc is devoted to an alternate presentation framed at 1.66:1, which is workable enough and justifiable since this was released around the time films were being shot to be projected in both Academy and various wider ratios. Unless you really want to fill up your screen as much as possible, most will probably prefer the 1.33:1 as it features more vertical information and shows off more of those gorgeous costumes and locations. Either way, the LPM 1.0 mono audio sounds solid and features excellent optional English subtitles. The first disc houses all of the bonus features including a welcome new viewing option, the English-language version in a much longer edit (now 121 minutes, just a bit shy of the Italian cut) including as much footage from the uncut restoration as possible. It's a nice touch and a much richer way to experience this version, which is always great to see for the native vocal performances of the two stars (even if it still doesn't make much sense for Valli to have a thick Italian accent when everyone else speaks like an American!). With a video history reaching back to a 1999 DVD release from Image Entertainment, the 1999 Carlo Lizzani documentary Luchino Visconti (60m35s) is included here and makes for a solid primer on his life and career with interview subjects including Claudia Cardinale, Burt Lancaster, Francesco Rosi, and Lizzani himself, plus lots of film clips. Wearing a great jacket, critic and fashion historian Matteo Augello appears for a 18m59s discussion of fashion and overall style sense in Visconti including his fastidious attention to detail and love of sensory aesthetics. An entertaining black-and-white 1969 interview with Visconti and the legendary Maria Callas (23m10s) from the series L'invité du dimanche is basically a casual conversation between friends about how they first met at a party, their collaborations together on several opera productions, their own theories on why opera should never be filmed, and the way it's used in his films with this one in particular. A stills gallery is also included, and the limited edition comes with a booklet featuring a new essay by Christina Newland.

(I moved your post here from the UHD thread since this is not a UHD release.)

Matt wrote: Mon Aug 18, 2025 9:47 pm

kekid wrote: Mon Aug 18, 2025 4:38 pm How does "Senso" from Radiance compare with that from Criterion?

From Mondo Digital:

(I moved your post here from the UHD thread since this is not a UHD release.)

Thanks, Matt.

As expected, Le notti bianche rounds out the trio in December

Le notti bianche

One fateful night on the streets of Livorno, world-weary Marco (Marcello Mastroianni, Allonsanfan) bumps into Natalia (Maria Schell, The Last Bridge), a visibly distressed young woman. As Marco attempts to comfort her, Natalia recounts the story of a lost love (Jean Marais) who she hears is back in town. In a bid to remain close to her, Mario reluctantly agrees to help Maria find him. Adapted from a Fyodor Dostoyevsky short story, director Luchino Visconti (Senso, La terra trema) captures the agony and ecstasy of infatuation in this exquisite melodrama. Headlined by two stellar performances from Marcello Mastroianni and Maria Schell, Le notti bianche won the Silver Lion at the 1957 Venice Film Festival.

LIMITED EDITION BLU-RAY FEATURES

4K restoration by Cinecittà
Uncompressed mono PCM audio
Interview with producer and programmer Adrian Wootton (2025)
Letters From Rome: Luchino Visconti - archival documentary where Visconti is interviewed in Rome by Andre Labarthe (1963)
Archival interview with actor Marcello Mastroianni (1977)
Archival interviews with Visconti collaborators and Le notti bianche crew (2003)
Audiobook reading of Dostoyevsky's original short story ‘White Nights' (2010)
Trailer
Newly improved English subtitle translation
Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow
Limited edition booklet featuring a new essay by Pasquale Iannone and archival writing
Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings

UK December 8

Re: Le notti bianche. What a blast of a release! Watching the film is like watching fireworks for ninety minutes nonstop. Never thought I'd use fireworks to describe a B/W film but there you go. The direction and cinematography is top-notch--that deep focus shot toward the end is jaw-droppingly powerful, something I'm sure will leave a lasting impression in my mind for the rest of my life. And the performance, wow. The way Maria Schell delivers her lines (helped by her own dubbing voice) comes across as very naturalistic, much more so that any other Italian actress does in this period. Words morphed into laughs, back to words, then into cries like some eye-squeezing ballet moves. Then there's that dancing scene. Wild. Totally not prepared for this kind of stuff. Someone should make it into a gif or some looping video for DVD menu.

(spoilers below)

I saw from the old Criterion thread that some forum members were having issues with Marcello Mastroianni's performance, even going so far as considering him miscast. Granted, nobody would believe Jean Marais could steal Marcello's girl just by standing on a bridge. Marcello is, on the other hand, exactly the kind of man that draws affection just by leaning on a foggy window. So why this arrangement? The way I see it is that Natalia, who was desperately infatuated with her former tenant, did not really see Marco as we see him. The use of one of the most beautiful Italian men here serves to emphasize how oblivious the girl was to a new chance of love. Obviously the casting of the two leads is to evoke a chemistry that the audience could not help but root for, would definitely hate to see unfulfilled. But as we witness the fireworks the whole time, the girl is totally blind to it, even in one scene admitting to having treated poor Marco like a 'big brother'. This is humiliating to Marco, making the ending almost impossible to stomach. Then, are we to believe a man played by Marcello can be 'shy' and inexperienced with girls? Well in real life there are people like that. And the slight alter in character makes sense to me in terms of the story. If it were a plain-looking fellow, we'd probably infer from the very start the outcome is inevitable. That's the tragedy of the man. But with Marcello, there's a sizable chance that he can appear a more sexy choice next to a ghost. Therefore the focus of tragedy shifts to the girl. She does not even look. Strictly within the context of this film, not the Dostoevsky source, I could see the ending as a surreal revelation. It's not the tenant that sucks the girl back, it's the image of the tenant, her crazy love for a ghost that does not happen in her life anymore. Even without the man present on the bridge, one day the girl would still walk without a reason. That is just how infatuation works. For that, I applaud Visconti's adaptation and direction. The end result is a grand work that speaks about the deep dark corners of the human mind.

A side note: I've not had the chance to view everything in the Radiance edition yet, but I've already caught a typo in the subtitle: I leave near by. That can't be right, right?

I never felt Mastroianni was miscast, either. A lot of people point back to the novella, where the narrator is an unattractive man, so the story becomes a real Dostoevsky type of melodrama where a lowly man dreams of heaven, nearly tastes it, and then is sent crashing back to the reality of his own worthlessness. Not the kind of story that does much for me. But in Visconti's movie we get a handsome, naturally charming man who for whatever reason holds himself back. He feels he ought to have friends and loves and all sorts of things befitting his qualities, but for whatever reason, some shyness or defensiveness, he can't break through that shell. And we see him throughout the movie place all his hopes on a grand romantic love affair, the kind of love affair a man like him would have, so that we get a movie star playing a character who's trying to play a movie star and have a movie star type affair. And it nearly works, he nearly pulls it off. But as his desperation to keep the illusion going becomes louder, the woman's willingness to play along becomes strained, and then things...just...fall away. And I think casting Marais as the foil is perfect, because Mastroianni in the movie is all openness and light, but Marais in looks and as photographed is dark and mysterious. So you see Mastroianni never had a chance, not because he wasn't handsome or charming enough, but because he was never the girl's type (which works with your reading that the girl is caught in an idea of a person, a ghost as it were). People are not simply attracted to the prettiest face in their purview. So it didn't matter how handsome and charming and exciting Mastroianni made himself, he was never going to brute force attraction. So Mastroianni walks off forlorn, because the hardest he's ever tried to be the man he feels he ought to be has, like every other smaller time, not worked. He'll return to his room feeling once again cut off from the joyous life he feels he ought to inhabit and can't. A sad situation, but not a pathetic one. Works for me more than a pathetic story about an ugly guy trying to play beauty and the beast. Too heavy in its entirely conventional misery.

Very sharp observation, Mr. Sausage. I concur with almost everything you wrote.

Come to think of it, I don't pretend to claim that casting Marcello Mastroianni is not first and foremost a commercial consideration. Yet Visconti's craft and artistic vision reconciles Marcello's charisma with the character's awkwardness and believability. This is not unlike WKW making people believe characters played by Tony Leung and Maggie Cheung can be cuckolded by their partners. He did it by portraying them as relatively naive, setting them against a social backdrop that encourages impulsive and whimsical action, and making their cheating partners unseen, unemotional, and mysterious.

Great thoughts. For me, this is Mastroianni's best performance because you forget this is Marcello. I'm sure not yet becoming the global superstar helped, but we go into it with that understanding, so I don't think it matters. There is an exception, the very clever scene with the woman through the glass, which works both as a bit of comic relief and to also show how the character lacks self-confidence, or as Mr. S put it, mystery. He wants reassurance, validation, but only on terms he finds acceptable. Relatable both your being young and, of course, being an artist. Using Marais, a man prettier than Marcello, to represent the proverbial male brute, the demon casting a shadow over the idealist who inevitably crushes his dream is perfect. This is probably the only movie I can quote directly from, which works out great as it's one most people are unaware of, let alone seen, so it's great this release will start to change that.