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Finch wrote: Tue Apr 15, 2025 4:11 pm New audio commentary featuring filmmaker and playwright Neil LaBute

crimlaw wrote: Wed Apr 16, 2025 4:02 am Did Criterion license Carnal Knowledge from Studio Canal or MGM/UA?

Matt wrote: Wed Apr 16, 2025 7:10 am The streaming rental listings say Lionsgate is the distributor with copyright attributed to StudioCanal.

crimlaw wrote: Wed Apr 16, 2025 12:27 pm Lately, the Studio Canal catalog seems to be a steady supplier for Criterion. Could The African Queen be next?

ChunkyLover wrote: Thu Apr 17, 2025 3:22 pm “The African Queen” is a Paramount-controlled title in the US.

CSM126 wrote: Wed Jun 18, 2025 9:51 pm Carnal Beaver comparing the Criterion and Indicator 4K discs.

olmo wrote: Wed Apr 16, 2025 5:34 pm Love the art design, for me it's far better than the Indicator release which even though it contains components of the original promo one sheet, looks odd.

I think the red is completely incongruous, if a colour can be incongruous.

Criterion's extras best Indicator also, LaBute is a find, contextually, it's an intriguing addition.

hearthesilence wrote: Thu Jun 19, 2025 11:32 pm Criterion looks a bit like it's been filtered, so definitely Indicator would be my recommendation. (Also, honestly thought this was Jerry Seinfeld.)

jt938 wrote: Fri Jun 20, 2025 4:52 pm Piece from the booklet regarding the look of the film posted by MifuneFan on Blu-ray.com

Spoiler

I remark about the absence of color in the decor. All of the sets I see on the stages are done in the cream and tan and brown tones which Sylbert has mentioned. "It's true that there is little color," he explains, "but it's not because of a conscious avoidance of color. It's a visual way of growing from college — which I always assumed was the color of a paper bag — to the 1970s. You see people differently in 1970 from the way they looked in 1946. There is a change in contrast. Back in college, under the tans and browns and brick colors, the edge was very soft. With time, life takes on a very hard edge. The mature man wearing a black velvet suit in a white room is, in every way, drastically different from the boy he was in college, with his khaki pants and khaki room and khaki bedspreads and khaki book covers. As the emotional pressures of the film's story increase, the contrast — which was soft and delicate in the beginning — will harden up. This is the effect that Peppino will be striving for, also, as shooting progresses."

...

On the sound stage they are preparing to shoot a sequence in the tavern set. All of the practical fixtures are faced with amber glass, so Rotunno quite logically suggests that the set (and the actors) be illuminated exclusively with amber light. This is, from the technical standpoint, a very bold gesture and one that requires the utmost care in execution, lest the actors all end up looking as if they've got jaundice. However, Nichols likes the idea and soon the entire set takes on a golden glow.
..


I ask him what he considers to be the special challenges of photographing Carnal Knowledge and he replies: "The story takes place in three different time periods. It begins in 1946. Then there is another part that happens in 1961, and the final part develops in 1970. We are trying to make the three sections of the film look different, in order to show the passage of time. But we are also trying to keep everything very simple, which means that the differences must come from the way that we use the light."

cdnchris wrote: Mon Jul 14, 2025 9:57 pm so I'm wondering if he was watching a different master when he recorded the track because I would think (based on the fact he's clearly watched the film numerous times) he would have noticed it missing.