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PostPosted: Wed Apr 01, 2015 3:28 pm 
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Joined: Wed Nov 11, 2009 1:01 pm
Location: Stretford, Manchester
It's the same shape and size as the Robbe-Grillet set. Nice and compact, although I have requested a replacement as mine arrived squashed.


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PostPosted: Wed Apr 01, 2015 3:53 pm 

Joined: Wed Apr 01, 2015 12:26 pm
Thanks, I was hoping it would be like that,I've got the robbe grillet as well as the Kurosawa so will fit well with the collection :-)


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PostPosted: Mon Apr 06, 2015 3:39 am 
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Joined: Mon Aug 07, 2006 10:36 am
Location: Spain
Mine has arrived perfectly. Nice box.


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PostPosted: Thu Apr 09, 2015 7:09 am 
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Joined: Tue Nov 02, 2004 1:56 pm
Location: Dublin
After a rather roundabout route (UPS missorted & misdirected it along the way) have this set in hand... A complete game changer insofar as, apart from their copious excellent extras, it renders the Criterion set pretty much redundant feature-wise... The BFI BluRays present a positively visceral range of imagery that will be hard to beat...


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PostPosted: Thu Apr 16, 2015 3:11 pm 
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Joined: Mon Nov 08, 2004 4:30 pm
Location: Chapel-en-le-Frith, Derbyshire, UK
Mondo Digital review


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PostPosted: Thu Apr 16, 2015 5:10 pm 
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Joined: Tue Nov 02, 2004 8:01 pm
Location: WellyYeller
Absolute no brainer, even if you already have the Criterion box. This replicates essentially all the extras from that set including Tag's Video essay Into the Future, and the booklet essay material is equally copious. The HD transfers from Bologna done in 2013 are startlingly good. And the real clincher has to be the 2k of l'Amore. The mastering team have done fabulous work with this - I saw a 35mm of it at Sydney FF back in the early 90s and the quality was not near equal to this. And it's a great underappreciated Rossellini.

Mine is numbered 2919 of 3000 so I don't know if this means the print run is nearing the end.


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PostPosted: Fri Apr 17, 2015 10:08 pm 
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Joined: Wed Nov 03, 2004 8:48 am
Location: Atlanta
Mine's 2695 - I don't think I pre-ordered it particularly early on in its availability, so they might be about out of them.

Looking forward to seeing all the films again - I saw the Open City resto theatrically in Paris last year and, while still retaining the source material's inherent roughness, it looked beautiful. And what a film!

I'm especially keen to see Germany Year Zero in halfway-decent shape.


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PostPosted: Fri Apr 17, 2015 10:44 pm 
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david hare wrote:
Absolute no brainer, even if you already have the Criterion box. This replicates essentially all the extras from that set including Tag's Video essay Into the Future, and the booklet essay material is equally copious.

I do not dispute that the BFI Blu-ray box by all accounts appears to be a great set, but it certainly does not replicate essentially all the extras. Here are the on-disc extras exclusive to Criterion:

Quote:
• Video introductions by Roberto Rossellini to all three films, from 1963
• New video interviews with Rossellini scholar Adriano Aprà, film critic and Rossellini friend Father Virgilio Fantuzzi, and filmmakers Paolo and Vittorio Taviani
• Audio commentary on Rome Open City by film scholar Peter Bondanella
• Once Upon a Time . . . “Rome Open City,” a 2006 documentary on the making of this historic film, featuring rare archival material and footage of Anna Magnani, Federico Fellini, Ingrid Bergman, and many others
• Rossellini and the City, a new visual essay by film scholar Mark Shiel on Rossellini’s use of the urban landscape in the War Trilogy
• Excerpts from rarely seen videotaped discussions Rossellini had in 1970 with faculty and students at Rice University about his craft
• Roberto Rossellini, a 2001 documentary by Carlo Lizzani, assistant director on Germany Year Zero, tracing Rossellini’s career through archival footage and interviews with family members and collaborators, with tributes by filmmakers François Truffaut and Martin Scorsese
• Letters from the Front: Carlo Lizzani on “Germany Year Zero,” a podium discussion with Lizzani from the 1987 Tutto Rossellini conference
• Roberto and Roswitha, a new illustrated essay by film scholar Thomas Meder on Rossellini’s relationship with his mistress Roswitha Schmidt


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PostPosted: Sat Apr 18, 2015 1:41 am 
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Joined: Tue Nov 02, 2004 8:01 pm
Location: WellyYeller
Thanks for reminding me D, I actually intensely dislike the Apra material (would have preferred an equivalent volume of extra Tag material, like one long essay for each film. I really don't like where Apra comes from over this whole area of post war Italian cinema in fact. No offence to you or others who may find him "important" but I am very glad to be rid of it with the BFI box. Some of the other bonus items are of interest. I think the BFI wipes the Crit box out however.

I am giving the Crit box along with nearly 100 other superfluous discs to the Wellington City Library. You can't sell these things from our Distant Shores. (I feel a Zarah Leander number coming on... "auf Wiedersehen, Parramatta".... )


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PostPosted: Sat Apr 18, 2015 10:05 am 
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Joined: Thu Aug 15, 2013 5:15 pm
The numbers are no indication of remaining stock. I only ordered from Amazon yesterday, and received 0273 today.


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PostPosted: Sun Apr 19, 2015 5:53 pm 
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Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village
Rome, Open City.... Dr Svet


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PostPosted: Mon Apr 20, 2015 12:33 am 
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Joined: Tue Nov 02, 2004 10:58 pm
Location: Tokyo, Japan
Question: In "Paisan" during the scene 97 minutes in when the American Revered is defending the Jewish and Protestant chaplains, there seems to be a jump cut, with 2 background characters suddenly disappearing. Was this always present? Was it on the Criterion DVD or other previous editions?


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PostPosted: Mon Apr 20, 2015 1:27 am 

Joined: Fri Apr 25, 2014 6:29 am
manicsounds wrote:
Question: In "Paisan" during the scene 97 minutes in when the American Revered is defending the Jewish and Protestant chaplains, there seems to be a jump cut, with 2 background characters suddenly disappearing. Was this always present? Was it on the Criterion DVD or other previous editions?


I just checked out my Criterion DVD and there was the jump cut. Doesn't seem like an "error" to me, just a possible mistake when making a movie with lots of improvisation and limited resources like Rossellini did.


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PostPosted: Wed Apr 22, 2015 7:32 pm 
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Joined: Wed Jan 29, 2014 11:23 pm
The only lazy error I've noticed in an otherwise sterling release is the copy-pasting of subtitles from the restoration info preceding Rome, Open City onto the other films. Consequently, all the films in the set are stated as having been restored from the original picture and sound negatives, when the text on screen and in the booklet says otherwise. It wouldn't be a huge issue, except a number of reviewers (including both Gary at DVDBeaver and Dr. Svet at Blu-Ray.com) have quoted the incorrect titles directly when talking about the restorations.


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PostPosted: Wed Apr 22, 2015 9:05 pm 
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Joined: Tue Nov 02, 2004 10:58 pm
Location: Tokyo, Japan
blu-ray.com on "Germany Year Zero"
Seemily skipped over "Paisan" and went to disc three?


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PostPosted: Thu Apr 23, 2015 2:13 am 
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Joined: Wed Apr 29, 2009 11:13 am
manicsounds wrote:
blu-ray.com on "Germany Year Zero"
Seemily skipped over "Paisan" and went to disc three?


Maybe Svet had only time for the shorter movie ?


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PostPosted: Thu May 12, 2016 2:35 pm 
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Joined: Sun Mar 27, 2005 6:07 pm
I watched through this whole set this weekend, my first time seeing any Rossellini film. Reading about the films afterwards, IMDb states that a longer, 134 minute version of Paisan was restored & screened in 1998. I found this article on Adriano Apra's website that details the differences and confirms the longer restoration played at the 1998 Venice Film Festival. He makes the case that the cuts to the 125 minute version were made by Rossellini, so I can understand maintaining that as the official version, but does anyone know why the longer version hasn't been included by Criterion or BFI as an additional, alternate version? Especially since between Criterion & BFI, we've been given alternate versions of all 3 of the major Bergman/Rossellini films.


Last edited by PfR73 on Sat Nov 19, 2016 5:28 pm, edited 1 time in total.

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PostPosted: Sat Nov 19, 2016 6:48 am 

Joined: Tue Apr 14, 2009 4:29 am
Gamma looks off on "Rome Open City" but not the other two titles.


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PostPosted: Tue Jan 24, 2017 12:45 pm 
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Joined: Wed Nov 03, 2004 8:52 am
Location: Zürich, Switzerland
Was waiting for a Criterion blu-ray set of these but finally decided to buy the BFI set to replace my Criterion DVD set. Couldn't turn down the bargain price on Zavvi:
http://www.zavvi.com/blu-ray/the-rossel ... 40688.html


Sent from my iPhone using Tapatalk


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PostPosted: Tue Jan 24, 2017 3:12 pm 
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Joined: Mon Jan 31, 2005 7:42 pm
PfR73 wrote:
... does anyone know why the longer version hasn't been included by Criterion or BFI as an additional, alternate version? Especially since between Criterion & BFI, we've been given alternate versions of all 3 of the major Bergman/Rossellini films.

My understanding (someone please correct me if I'm wrong), is that, as you pointed out, the shorter 125-minute version of PAISA is Rossellini's "final cut" of the film; whereas the alternate versions of the Bergman titles are different cuts with different soundtracks (i.e Italian- and English-language versions) individually created for different markets.


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PostPosted: Tue Jan 24, 2017 5:23 pm 
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Joined: Mon Jan 31, 2005 7:42 pm
Image

PfR73, Tag Gallagher's "The Adventures of Roberto Rossellini: His Life and Films" is an excellent book in many ways. It is an particularly useful resource with regard to the issue you raise, namely the alternate versions of Rossellini's films. There are many! and Gallagher clarifies with specificity each distinction and its particular variations.


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PostPosted: Wed Jan 25, 2017 4:01 am 
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Joined: Tue Nov 02, 2004 1:56 pm
Location: Dublin
Elena Dagrada's LE VARIANTI TRASPARENTI is the comprehensive study & reference point (in 544 pages) for the various versions of the Rossellini-Bergman films...

Image


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PostPosted: Wed Jan 25, 2017 6:16 am 
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Joined: Wed Nov 11, 2009 1:01 pm
Location: Stretford, Manchester
Her DVD extra for Europa '51 is good. The only thing I know about the book is that Tag Gallagher felt that he was plagarised after assisting her, but not getting any mention.


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PostPosted: Thu Feb 16, 2017 2:32 am 
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Joined: Fri Mar 04, 2005 4:22 am
Location: NYC
Revisited Open City on this great set. I don't think I've ever seen it in better quality, which gave me a laugh. When I was a budding, teenage cinephile get acquainted with world cinema at the same time I was learning to drive, I was under the false impression that Open City had been shot only with discarded film stock that had been meant for the military (i.e. for combat and field photography, meaning something that had to be quick and easy to expose). With this in mind, I first saw this movie on a VHS tape from my high school library, one that undoubtedly had a terrible transfer from questionable sources, but interpreted it as the look of the original film. So the high contrast crushed blacks, gritty and crummy detail and texture, etc. all of these fed into a belief that this film had to be shot like a rough wartime documentary, and it wound up enhancing the experience to a large degree. I never thought a narrative film could be done like this! So this is realism! Well, no, because like Bicycle Thieves (which I also saw on a VHS tape from my high school library, this time videotaped from a 16mm film projection!), I eventually saw a good presentation and was startled by how "polished" they really looked. (For starters, the greater clarity made it obvious that so much was shot on studio sets.) Makes perfect sense now though - no way a theatrical distributor would've taken Open City if it looked that bad, and indeed in its true, not-as-rough-as-I-thought form, it had been rejected by a number of distributors for this very reason.


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PostPosted: Thu Feb 16, 2017 5:00 am 
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Joined: Wed Nov 11, 2009 1:01 pm
Location: Stretford, Manchester
Roma città aperta probably as much bullshit surrounding its production than any film in history.


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