Possibly. It was certainly shot on film, though (even though it was for Swedish TV): there's an excellent making-of documentary on the French edition which shows Bergman working with the cameras.davidhare wrote:Hmm -. neither is ideal. K the French caps look like the source might be tape?
Screen Captures (5-6 per post + links to additional images)
- Kinsayder
- Joined: Mon Oct 10, 2005 6:22 pm
- Location: UK
- Kinsayder
- Joined: Mon Oct 10, 2005 6:22 pm
- Location: UK
Another Melville...
L'Aîné des Ferchaux (aka Magnet of Doom, aka Die Millionen eines Gehetzten)
German R2. French/English audio (the film is mostly set in the US) with fixed but not burnt-in German subtitles. Also German credits, and German text superimposed on a few frames.
This is a non-anamorphic transfer. The back of the case says 2.35:1. In fact only the opening credits are in that ratio: the rest of the film is cropped to about 1.85, which causes some problems in the numerous shots where Melville places Vanel and Belmondo at opposite edges of the frame.
L'Aîné des Ferchaux (aka Magnet of Doom, aka Die Millionen eines Gehetzten)
German R2. French/English audio (the film is mostly set in the US) with fixed but not burnt-in German subtitles. Also German credits, and German text superimposed on a few frames.
This is a non-anamorphic transfer. The back of the case says 2.35:1. In fact only the opening credits are in that ratio: the rest of the film is cropped to about 1.85, which causes some problems in the numerous shots where Melville places Vanel and Belmondo at opposite edges of the frame.
- Michael Kerpan
- Spelling Bee Champeen
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- Contact:
- Kinsayder
- Joined: Mon Oct 10, 2005 6:22 pm
- Location: UK
Army of Shadows would at least retain a hint of the double meaning in the original title.davidhare wrote:Adn another Melville, the R4/R2 l'Armee des Ombres (clumsily translated on the Australian cover as "Army in the Shadows".)
The US title of L'Aîné des Ferchaux, Magnet of Doom, puzzled me for a bit. I still think it would be a better title for Melville's Un Flic, though, which has the best use of a giant magnet outside of a Tex Avery cartoon.
- vogler
- Joined: Thu Jun 29, 2006 8:42 am
- Location: England
Thanks for the info.
I managed to completely miss 2 threads about this film.
Une femme mariée (Old Films)
A Married Woman (Une femme mariée) (DVD News and Discussions)
Is anyone able to post screen caps of the region 1 dvd for a comparison? I have a feeling the Japanese will be much better.
I managed to completely miss 2 threads about this film.
Une femme mariée (Old Films)
A Married Woman (Une femme mariée) (DVD News and Discussions)
Is anyone able to post screen caps of the region 1 dvd for a comparison? I have a feeling the Japanese will be much better.
- Kinsayder
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- Location: UK
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- Lino
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- Lino
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At a first look, they seem to be taken from the same transfer source (or one terribly similar) as they both exhibit the same problems: skin tones are off, the colors could use some boost on the garish side, and the blacks are very/too strong and domineering.
I have a feeling that the upcoming R1 release will be strikingly different and better. Fingers crossed for that.
I have a feeling that the upcoming R1 release will be strikingly different and better. Fingers crossed for that.
- Kinsayder
- Joined: Mon Oct 10, 2005 6:22 pm
- Location: UK
Lancelot du Lac (Spain R2)
Anamorphic. Spanish subtitles fixed but not burnt-in.
For comparison with New Yorker R1.
Anamorphic. Spanish subtitles fixed but not burnt-in.
For comparison with New Yorker R1.
- Gordon
- Joined: Thu Nov 11, 2004 8:03 am
Robert Bresson's, The Devil, Probably
- Spanish DVD
- French subtitles
- Spanish subtitles
- No English subtitles, unfortunately - where is the Art Eye edition?
From MoC's Bresson News Column page
- Spanish DVD
- French subtitles
- Spanish subtitles
- No English subtitles, unfortunately - where is the Art Eye edition?
From MoC's Bresson News Column page
- Kinsayder
- Joined: Mon Oct 10, 2005 6:22 pm
- Location: UK
No French subtitles, either, in fact. Just Spanish subs which, as with Intermedio's other Bressons, are fixed but not ingrained.Gordon wrote:Robert Bresson's, The Devil, Probably
- Spanish DVD
- French subtitles
- Spanish subtitles
- No English subtitles, unfortunately - where is the Art Eye edition?
- Gordon
- Joined: Thu Nov 11, 2004 8:03 am
Yella' subs! Oh, shit. This is one film where introducing the colour yellow is more than just annoying - it's somewhat damaging to the aesthetics. At least they are removeable.
Looks great, but I still wouldn't mind seeing a comparison with the Italian DVD. Here's the DVD Beaver comp of the Image R1 and Russian R5: www.dvdbeaver.com/film/DVDCompare11/red_desert.htm
Looks great, but I still wouldn't mind seeing a comparison with the Italian DVD. Here's the DVD Beaver comp of the Image R1 and Russian R5: www.dvdbeaver.com/film/DVDCompare11/red_desert.htm
- Don Lope de Aguirre
- Joined: Fri Apr 14, 2006 5:39 pm
- Location: London
I too have ordered this and am very miffed by the yellow subs
I sent an email to the DVD producer (it made me feel a little better...) I doubt I'll get a reply!!
Just thought it would be interesting to post Tarkovskij's thoughts on the use of colour in The Red Desert:
I'm tempted to write a reply don't even know where to begin!
I sent an email to the DVD producer (it made me feel a little better...) I doubt I'll get a reply!!
Just thought it would be interesting to post Tarkovskij's thoughts on the use of colour in The Red Desert:
(source: nostalghia.com)The Red Desert is the worst of his films after Il Grido. The colour is pretentious, quite unlike Antonioni usually, and the editing is subservient to the idea of colour. It could have been a superb film, tremendously powerful, if only it had been in black-and-white. If The Red Desert had been in black-and-white, Antonioni wouldn't have got high on pictorial aesthetics, he wouldn't have been so concerned with the pictorial side of the film, he wouldn't have shot those beautiful landscapes, or Monica Vitti's red hair against the mists. He would have been concentrating on the action instead of making pretty pictures. In my view the colour has killed the feeling of truth. If you compare The Red Desert to La Notte or L'Eclisse it's obvious how much less good it is.
I'm tempted to write a reply don't even know where to begin!
The weekend after next there is an Antonioni retrospective in Melbourne, Australia and all films are apparent NEW prints. This is my schedule:
The Red Desert (Sat Oct 28, 4.15pm)
Blow Up (Sat Oct 28, 6.45pm)
Zabriskie Point (Sat Oct 28, 9.15pm)
L'Avventura (Sun Oct 29, 3.15pm)
La Notte (Sun Oct 29, 6.00pm)
L'Eclisse (Sun Oct 29, 8.30pm)
The Red Desert (Sat Oct 28, 4.15pm)
Blow Up (Sat Oct 28, 6.45pm)
Zabriskie Point (Sat Oct 28, 9.15pm)
L'Avventura (Sun Oct 29, 3.15pm)
La Notte (Sun Oct 29, 6.00pm)
L'Eclisse (Sun Oct 29, 8.30pm)