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Highway 61 wrote:Surprised to see the praise for this here. I thought the film sunk into bathos as soon as the love triangle with the Chiara Mastroianni character was introduced. Maybe I'll have to give it another look.

Count me among the shruggers. Way too desperate to convince you of its brilliance, it comes off as the second coming of Bertrand Blier (PG version) or, at best, the second coming of lite-Truffaut, and neither prospect gets my blood racing. Considering how beholden the film is to The Royal Tenenbaums, Despleschin could at least have picked up some pointers from Anderson on how to make an archly esoteric soundtrack actually work.

Until this thread, I thought there was only one other person in the world who shared this opinion!

Fiery Angel wrote:This is easily the least of his films--I was shocked at how sentimental and draggy it was--but if it gets people to seek out his earlier, much better ones (My Sex Life is his masterpiece), then CC will have done its job. (Although they could also release his other films too!)

I wouldn't discourage anyone from seeing it, it is IMO very good -- it is far from his worst -- Esther Kahn anyone? But I totally agree that My Sex Life is the one Criterion should have done first. No contest of any kind. King and Queen would be the second best.

If anyone hasn't seen it/wants to preview it, has Sundance Channel and a DVR/or is a night owl -
Saturday August 22 at 1:30AM (ET/PT)
Sunday August 30 at 3:20AM (ET/PT)

Matt wrote:I suppose what's funny is that I am indifferent to most films by Cassavetes, Rohmer, Pialat, Truffaut, and others of that ilk that might be considered his major influences, but I adore Desplechin.

When I saw Desplechin speak at BAM a little while ago an audience member asked him what his feelings were about Pialat (and Eustache). Desplechin shrugged, raised a hand in faux-innocence, and made a spitting sound into the microphone.

On the other hand he was there to present a screening of Truffaut's Mississippi Mermaid, so he obviously has no problem acknowledging his influences. When I spoke top him in private afterward he was also obviously quite enamored of Rohmer (though not necessarily as a person, apparently Eric won't talk to anyone nowadays if they aren't an attractive young woman).

FerdinandGriffon wrote:Eric won't talk to anyone nowadays if they aren't an attractive young woman).

To quote Claude Rains in Casablanca:

"A wise foreign policy.."

FerdinandGriffon wrote:When I saw Desplechin speak at BAM a little while ago an audience member asked him what his feelings were about Pialat (and Eustache). Desplechin shrugged, raised a hand in faux-innocence, and made a spitting sound into the microphone.

I'll consider that good news, I guess.

With the title like that, I feared the film would turn out like a syrupy Hallmark card - moral lessons, blah blah - but I ended up being completely spoiled by everything - the over-rich, ye warm and exciting plum pudding of a movie! I just love the structure of the film matching the structure of the family - sprawling, fragmented, alive and ever shifting. On Christmas day, a woman escapes from her family to meet a guy in a smoky green-lit bar, laying down feelings repressed for decades. A grin spread across my face when Catherine Deneueve walked around hugging her Emerson book. It's really a beautiful film, lofty and earthy. The only other French film that could complement that is Chereau's Those Who Love Me Can Take the Train - a messy modern French family reunion.

I liked Assayas's Summer Hors a LOT more than this. Desplechin's style is much too hyperactive for me..

Michael Kerpan wrote:I liked Assayas's Summer Hors a LOT more than this. Desplechin's style is much too hyperactive for me..

I took your recommendation and ordered the French dvd.

Michael wrote:

Michael Kerpan wrote:I liked Assayas's Summer Hors a LOT more than this. Desplechin's style is much too hyperactive for me..

I took your recommendation and ordered the French dvd.

Now I'll have to feel guilty if you don't like Summer Hours. ;~}

I prefer Summer Hours too, but apart from being a French family reunion drama, it has little in common with this film.

Far and away my favorite film from 2008, and I actually prefer it to Kings and Queen. It's messy, yeah, but I find it moving as hell, and I love the way that it references other family/holiday movies.

It is such a disappointment that this isn't coming on Blu-ray but Gomorrah is. Seriously? I almost ordered that French Blu-ray, but the lack of English subtitles was a deal-killer. I'd be thrilled if Criterion did My Sex Life, Blu-ray or not.

Well I'll be damned. Those blurry Christmas lights are going to look sensational in 1080p.

I'm assuming they took notice and figured enough people were bitching about it that it might actually be worthwhile to release it on Blu.

I figured more of us were bitching about Z and Jeanne Dielman but I guess I'll take what I can get.

cdnchris wrote:I'm assuming they took notice and figured enough people were bitching about it that it might actually be worthwhile to release it on Blu.

I have decided not to even view this film, even once in my life, out of protest.

aox wrote:I have decided not to even view this film, even once in my life, out of protest.

Protesting what? Listening to customer requests? Releasing, at long last, a good contemporary French film? Regardless, it's your loss.

Excellent news. I wonder if this Blu-Ray was in the works all along, or if Criterion really did hear complaints and/or concerns from many of us and others and decided to step up their efforts for a BR release (even if, as David Hare points out, it didn't require much extra work on their part)? If that's the case, we really should keep up the pressure on things like Z. It's nice to think the company is willing to change plans sometimes if they hear from enough concerned individuals.

I'm sure the source plays a big part in what Criterion feels they can release on Blu. With something like A Christmas Tale, which had already had a commercial Blu release, it's easy enough for them to flip the switch, but Jeanne Dielman, where they're utilising an existing transfer prepared for DVD only, would presumably require a lot more work, if not an entirely new transfer. Although Criterion and others have been doing HD tranfers for years, that doesn't mean the transfers are Blu-ready. Unless there's a Blu release of Z out in some other region, it could also be the case there that the HD elements available aren't suitable for a BluRay release.

I've bitched and moaned about Blu-ray, but this is one of those films that as I was watching it, I thought, "You know, this would be worth it"

Why this film in particular, domino? I liked the film, but I don't understand what screams "I need to be seen in 1080p!" about it.

Will help fulfill long-held goal of seeing Anne Consigny's eyebrows in high definition

Beaver on the Blu-ray