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I know it can be hard, but please try to check if what you’re talking about is a Kino LORBER STUDIO CLASSIC before discussing it in this thread and not the Kino thread. Big hint for future reference: Maya Deren is not a Hollywood Director

Not hard at all, I just wasn't thinking. Sorry about that.

No worries, and it actually does happen a lot and the mods just move the posts without comment, but I figured this was a good opportunity for a heads-up for everyone since I couldn’t just move your initial post without splitting

Really excited about Clockwise (which was only available in an awful disc from Anchor Bay) and The Grey Fox, which is a new 4k restoration.

Gonna be seriously pissed if Lord Love a Duck doesn't have a Joe Dante commentary.


Guesses for the 1984 and 1988 films? Maybe Choose Me? Tom Waits' Big Time (still an MGM title AFAIK)?
Eight Men Out?

The Kino Insider recently told someone on another forum that they tried to acquire the Billy Wilder-scripted Midnight, but that it was with another label. Hmm

Speakeasy wrote: Mon Jun 08, 2020 6:49 pm The Kino Insider recently told someone on another forum that they tried to acquire the Billy Wilder-scripted Midnight, but that it was with another label. Hmm

Interesting. This doesn’t strike me as a Shout Factory acquisition, so sounds like Criterion

Interesting. This doesn’t strike me as a Shout Factory acquisition, so sounds like Criterion

Arrow Academy is another possibility.

That’s true, good point

beamish14 wrote: Mon Jun 08, 2020 6:41 pm Guesses for the 1984 and 1988 films? Maybe Choose Me? Tom Waits' Big Time (still an MGM title AFAIK)?
Eight Men Out?

1988 is Robert Redford's The Milagro Beanfield Wars

Damn. I don’t think I’d ever realised Big Time was a film, and was momentarily excited. That didn’t last.

As somebody who did know Big Time was a film, I say it's been out of circulation for way too long.

agnamaracs wrote:As somebody who did know Big Time was a film, I say it's been out of circulation for way too long.

I saw it on its original release and probably still have it on VHS somewhere, but I haven’t seen it in close to three decades.

senseabove wrote: Sun Jun 07, 2020 6:33 pm 9/29
Love Me Tonight (1932)

Hoo-ray! My all-time favorite musical!!!

For those not keeping track of the While Supplies Last list, it seems the following BDs have sold out and are officially OOP:

Camp Nowhere (1994) (DVD still available)
Solarbabies (1986) (DVD still available)
To All a Goodnight (1980) (Scorpion) (DVD still available)
The Wicked Lady (1983) (Scorpion) (DVD still available)

I saw Solarbabies at the Brattle theatre's "Trash Night" and it was too bad to even be funny. Who is buying this?

Camp Nowhere is a movie you can’t watch as a responsible adult, all you can think is “These kids NEED supervision!”

Hell, I remember thinking that when I saw Camp Nowhere as a kid and I was at a single-digit age.

I can’t imagine anyone was in danger of watching it, but here’s my writeup from the Youth List Project

domino harvey wrote: Tue Jan 05, 2016 2:04 am Camp Nowhere has a premise that makes my skin crawl: a bunch of kids decide to form their own camp and run it themselves, with some light supervision from a former drama teacher turned Easy Cheese salesman, played by a slumming Christopher Lloyd. Remarkably, these kids don’t kill each other or starve or spontaneously create a new Larry Clark film. This movie is so confused that it casts a thin and appealing young girl as the “fat girl” (and as a result she is the butt of several jokes that seem lost in translation regardless of the language being spoken), and an equally appealing smart and likable guy as the allegedly socially-poisoned “geek” protagonist who nevertheless is able to organize, run, and finagle the entire con, all the while leading his fellow kids, who follow his words and plans. Yes, that certainly sounds like a loser.

I just remember disliking it when I was a kid, back when films with premises like these were dreams come true (Blank Check, anyone?) so if a child-me is snoozing over materializing the power to overcome adults, I'm not too keen on revisiting it.

Since these German classics are coming, suppose we might see Jud Süß? Who on earth has the final say whether this can be released?

I'm hoping for some German Sirk films, myself. A fairly glaring omission in my own cinematic education.

L.A. wrote: Thu Jun 11, 2020 8:39 pm Since these German classics are coming, suppose we might see Jud Süß? Who on earth has the final say whether this can be released?

The Friedrich-Wilhelm-Murnau-Stiftung owns the copyright for most Nazi-era films, including Jud Süß. The foundation's board of trustees has classified it a as Vorbehaltsfilm, meaning it's not to be distributed (though they have held a screening of the film with an accompanying introduction and discussion). Altogether there are about forty Vorbehaltsfilme, including Hitler Youth Quex, Kolberg, and The Rothschilds. Jud Süß' copyright status in the U.S. is ambiguous, as a print was seized by the U.S. military and designated as "enemy property"; that copy is now in the National Archives and appears to be the source of the unauthorized versions floating around. But given how often Kino works with the FWMS, it's unfathomable that they would release a title from their catalog without authorization, even if there were no legal obstacles to doing so.

Hopefully Kino releases the new restoration of Käutner's Under the Bridges that FWMS put out in Germany, as that release doesn't have subtitles as far as I can make out.

Under the Bridges is probably my favorite Nazi-era film; it would constitute a major rediscovery, if it were given an opportunity to be rediscovered (outside of Germany, that is). Käutner is a fascinating figure. His legacy has been somewhat cursed in that he first arrived (and made some of his very best films) in the Nazi period, even though those films are about as far from propaganda as it was possible to be at the time (that is, pretty far). Käutner was a devotee of Hollywood comedies and melodramas, and during the war he made requests for prints of American films that would have been verboten in German cinemas (IIRC among them were Wellman's Lady of Burlesque, Stahl's Our Wife, and Clair's I Married a Witch). He was a true cinephile and, after the war, stayed on top of contemporary currents—some of his later films show the influences of European new waves. But he wasn't embraced by those later generations of filmmakers (and critics) and he has kind of disappeared to the margins of film history....