Kino

[domino harvey]

Actually, "People and Worms" is a more accurate translation of "Liudi i chervi" in the Russian. Eisenstein is deliberately using the word "worms" here instead of "maggots" (lichinki).

I suspected as much, given the original translation is so iconic - though it's a bit like the revamped opening to Touch of Evil: it may be closer to Welles' intentions, but I still have the Henry Mancini score playing in my head whenever I watch the DVD!

Exactly. I don't doubt that it's a more "exact" translation, but "the Men and the Maggots" is so well-known that it seems blasphemous to alter it.

[MichaelB]

Exactly. I don't doubt that it's a more "exact" translation, but "the Men and the Maggots" is so well-known that it seems blasphemous to alter it.

My sister (who speaks fluent Russian) said that it was a real pain having to pronounce 'Потёмкин' as 'Potemkin' when it should of course be 'Potyomkin'...

...but she was also highly conscious that opting for the latter pronunciation in non-Russian circles made her sound like a prime candidate for Private Eye's Pseuds Corner, so she just had to grit her teeth and mispronounce it.

[Tommaso]

Hell, topics seem to get well jumbled here in this thread, but I try...

Re Early Paradjanov/Soviet films:

Much in agreement with everyone here. One totally forgets from time to time that Parad made films before "Forgotten Ancestors", probably because this film (and the three that came after it) seems so unique and unusual, and so style-defining. Indeed I would love to see Eclipse or anyone else to give us a glimpse what this extraordinary director made at the beginning of his career. As to the other films mentioned by jsteffe: I haven't seen any of these, but would assume they are very worth while. One addition would be Shengelaya's "Melodies of the Verijsky Quarter", which I also haven't seen. But on one (or several) of the Ruscico discs that I have there is a trailer for it, and ever since I watched that trailer I wanted to see that film. Must be a very charming, poetic 'musical' I assume. Ruscico has it announced as forthcoming on their site for several years now, but nothing seems to happen. Does anyone have any news about it?

Re: Beaver/Potemkin:

"Although it has interlaced combing, the image is improved (especially in the area of contrast) and shows extensively more in the frame."

I simply can't believe that this is the ONLY sentence Gary actually writes about the image quality. The quoted digobsessed review is most to the point, thankfully, but how can Gary pass so lightly over the almost incredible extent of the improvement of this new transfer? I haven't seen the Kino, but would suspect that apart from conversion problems the image should be exactly the same as the Transit disc, and that looks plainly unbelievably good. As Nick has pointed out elsewhere, interlacing can't be helped with films which are not in the standard 24 fps, so again neither Kino nor Transit would be able to avoid it. And yes, he cannot have seen that documentary....

All this makes me suspect strongly that here's another example of Gary's quibble with Kino, and that he doesn't feel like giving them praise even when they (for once) deserve it. I would be interested to see how the Kino fares in a direct comparison to the Transit. This MIGHT (might!) change the result, if probably only a little. But in this comparison the Kino should be a winner without any of the other discs coming even near.

EDIT: looking at the last caps in the comparison, there's indeed ghosting/combing clearly visible, which must be due to NTSC conversion. I had hoped this wouldn't happen anymore with HD masters, but it seems to be otherwise. Question is still how apparent this is during normal playback.

[MichaelB]

As Nick has pointed out elsewhere, interlacing can't be helped with films which are not in the standard 24 fps, so again neither Kino nor Transit would be able to avoid it.

This needs to be highlighted, as it's pretty fundamental to any understanding of how films can transferred to digital media at lower framerates than the current standards. It is emphatically not a drawback of the transfer - quite the reverse!

In many ways, video systems based on PAL and NTSC are quite unsuitable for silent films - something like Quicktime (or a similar computer-based system which allows variable framerates) would be much better. But the file sizes at full resolution would be so enormous that you'd probably have to supply them on a portable hard drive!

[Tommaso]

This needs to be highlighted, as it's pretty fundamental to any understanding of how films can transferred to digital media at lower framerates than the current standards. It is emphatically not a drawback of the transfer - quite the reverse!

Yes, but almost nobody seems to know it. I hadn't heard about this before Nick pointed it out in passing.

Michael, do you think that the combing on the last caps at the Beaver is due to interlacing or NTSC conversion? Just because Gary speaks of 'interlacing combing', and I'm pretty sure that there's nothing like it on the interlaced PAL Transit, at least I noticed nothing during normal playback (and I'm generally rather sensitive to the ghosting problems of many Kino discs). In other words: if it's interlacing combing, the Kino shouldn't have any problems as well, if not: well, the usual well-known problem then.

[HerrSchreck]

The Transit is going to be interlaced, so it is going to have combing. The question is your player and how you set it (if you can set it).

Like ghosting (and particularly since as you say Tom you view on a tube/crt) combing is visible primarily during freeze framing, especially if the encoder handles it properly and doesn't produce messes like, on the side of interlacing, say, Image's BERLIN, or on the ghosting side, Milestones PHANTOM OF OPERA. This is just awful disc authoring with no attempt to minimize the amount of affected frames per second. I've yet to see a Kino silent disc that comes anywhere near these levels. I don't know how they do it on the other side of the pond for equivalent situations (I e the Eureka Pal discs of the NTSC transfers of american silents say Griffiths), but it certainly can be offset by a skilled authoring house/encoder.

On interlaced discs, the effect will be minimized if you have a progressive, upscaling player. If you freeze frame, and step thru the pic frame by frame, if you see dupe frames on a silent running at anything but sound speed, your player is upscaling. Those dupe frames will look like a nightmare like Gary's caps if you switch your player down to Interlaced. Interlacing as seen in the bulk of Gary's caps are mostly created by setting his plaer to Interlaced. They wouldnt look like that-- I could be wrong but I dont think so-- if he set his player to Progressive. If, however, when you step thru a la the above method, and you see the effect of combing, then your player is showing you raw intrlaced frames with the knitting together of more than one frame. The combing is the horizontal resolution-lines interlacing two frames of film date into one. The lines look just like a hair comb. And the effect in motion in either case is a lack of smoothness and fluidity and a slight jitteryness, at least versus the cinema.

But at the same time all cinema exhibits ghosting to some degree, at least to anyone with good eyesight.. especially during scenes of motion, your eye can dissect a second into 24ths or 25ths, and grab more than one frame at the same time as the film spools along. Its the same effect as when you were a kid and drew cartoons on the edge of your book of a guy running along the top of the page then jumping off a cliff and splatting at the bottom of the page (how many stick figures can commit suicide in one 45 minute class?)... no matter how well done you still see the pages flicking by, and the image can register in fleeting blocks of multiples.

Interlacing is interlacing. There's just nothing can be done about it when its there outside of upscaling, but still this is not Progressive.

I in fact am very curious about this so am going to initiate a thread...

[Tommaso]

The Transit is going to be interlaced, so it is going to have combing. The question is your player and how you set it (if you can set it).

I was just curious because the frame grabs from the other discs don't seem to have the combing (at least not the FsF, the Eureka looks too bad to clearly discern anything). But this might well be due to the settings, as you say, and the caps for the FsF were not taken by Gary but Mykkel Svendstrup apparently, and that might account for the difference (or the fact that this older disc also relies on the 'efforts' of the Russians to bring the whole thing to 24 fps...).

My player is too old to change playback to progressive manually, and I have no idea whether it does something like this automatically, probably not. As it currently starts to break down more and more often, I guess I have to buy a new one soon anyway, so this is certainly something I will look after then.

Good idea with the dedicated 'interlacing' thread. I will quietly read it, I suppose, and hope to learn more about the whole thing from the more technical minded people here.

[HerrSchreck]

I was just curious because the frame grabs from the other discs don't seem to have the combing ...).

My player is too old to change playback to progressive manually, and I have no idea whether it does something like this automatically, .

Well the first issue is one which quietly registers and is in the background of all of these discussions about grabs, and presenting them to review a disc.

On those other discs, they're not there simply because he didn't single them out and put them there. I'm on a dial-up connection at this pc I'm sitting at right here now so I havent looked at Gary's review yet (I read the words but didnt try to sit and wait for the caps). You can take any non progrssive disc, flick your playback to interlaced, and make a disc look like a nightmare.. or you can keep it on progressive scan where the upscaled frames are for the most part devoid of the hideously jagged overlapping of stitched-together frames. You could make BEYOND TEH ROCKS or NEW BABYLON for ex look like a bus station pay toilet, or you can make them look quite nice with just a touch of jags here and there...

On the second issue, I dont know whether players would have any reason to flick to & fro automatically between progressive & interlaced. If you have a progressive player you pretty much keep it on progressive, and progs are progs and interlaced vids get upscaled and cleansed of the hideous blinking form of overlapping combing at its worst in BERLIN. If your player is strictly interlaced, or you have a switchable player but keep it on interlaced, the progs will play prog, you can still step/freeze thru each indiv frame of the film... but the interlaced discs will be less smooth, and wildly unpleasant to look at in freezeframe stepping.

[starmanof51]

Did anybody pick up The Lottery Bride, or find a credible review of it?

[Tribe]

Sorry for posting this if its already been posted in this thread, but the new Kino catalog announces Wiene's The Hands or Orlac and Pabst's Secrets of the Soul for February of 2008. Also new editions of Eisenstein's Strike and October.

Also Engel's follow up films to Little Fugitive: Lovers and Lollipops and Weddings and Babies.

And Kino On Demand...a download service, too?

Tribe

[HerrSchreck]

Wiene's The Hands or Orlac and Pabst's Secrets of the Soul for February of 2008. Also new editions of Eisenstein's Strike and October.

Also Engel's follow up films to Little Fugitive: Lovers and Lollipops and Weddings and Babies.

RIGHT ON! Finally a clear look at the Pabst. And a superior complete copy of the Weine.

I have LOVERS & LOLLIPOPS which is completely charming-- not quite the perfection of FUGITITVE, but pretty damned close.

[Scharphedin2]

I have LOVERS & LOLLIPOPS which is completely charming-- not quite the perfection of FUGITITVE, but pretty damned close.

Schreck, can you gush a little more about these later Engel films. Little Fugitive was one of the most delightful surprises for me this year, and a film I would probably never have thought to give a try, had it not been for your impassioned verbal acrobatics.

I must say that Kino is doing well these days. They are really putting many exciting releases out there at the moment.

[HerrSchreck]

Well again you have the completely charming handling of child actors by Engel who is magical at it. The story is about a widow with a plucky little daughter Peg.. and Peg misses her pop... and mom suddenly brings home a new Dude. So he has to try and overcome the kids harumphing, and the film has deft handling of some patently more challenging (only in a certain manner I guess) midtown locations with great shots all over 30 Rock Center, the MoMa, etc. Wonderful piece of Americana and NewYorkitis.

EDIT: sorry, I was raving about L&L. I've never seen W&B. I love old independents so I'll probably check it out.

[Tribe]

Schrek...I'm only familiar with the Hands of Orlac version with Peter Lorre. Has does the Wiene compare story wise? And tell us more about the new Pabst...I'd never heard of that particular title.

Tribe

[HerrSchreck]

In essence the story is the same as MAD LOVE (Freund who directed the US masterpiece was obviously very familiar w the source as was Lorre of course), but whereas the mgm is totally freaked out mindfuck, HANDS OF ORLAC is very much more the product of its time and origin. Part of the mindfuck of the mgm is the fact that this is a Hollywood film... but ORLAC is par for it's course... a very effective film with some tour de force sequences, and a very haunting atmosphere throughout. I'd hesitate to place is as a full out expressionist piece but there are definitely expressionst aspects, especially in the acting. The story is a bit different-- the person who messes w Orlac's mind is not the doctor who does the hand-graft, but a hospital employee (played by Fritz Kortner of WARNING SHADOWS and PANDORA) who is a total scumbucket and screwing with his brain while narcotized in his bed (great superimposition shot of a giant hand coming down outa the roof to obliterate Veidt). Kortner was quite the thespian apparently, with a great knack for playing freaks and lowdown shitheels (see HINTERTREPPE who has Kortner as the true grandfather of Travis Bickle).

Orlac's wife is very much in the anachronistic style of the silent cinema, but the sets, location shots (the train wreck set piece is as impressive as in MAD LOVE, as is the costome worn by the "knife thrower" during his "return-from-the-grave" meeting w Orlac.. all the stainless steel on the fake hands, the lowbrimmed hat, etc, its' all there in ORLAC) and sense of mood and ethereal aspect are very good. As is Veidt's performance-- there is a scene with him whipping a knife at the camera as his brain begins to become overcome with the idea of his posession that is as creepy and tour de force as anything he's ever done. And you see him as a very young guy-- a la WAXWORKS but more like CALIGARI-- really working his lanky body into that jerky twisted style of expressionistic acting (which is a key feature of genuine expressionism in general that is always overlooked by critics who seek to pin anything German and silent and shot in a chiaroscuro style as "expressionist"... it's a style of acting that's as radical and artificial as anything, ever) to express his increasing horror and revulsion vs his own body.

SECRETS relies on a tour-de-force section in particular where a man's explorations of his neuroses in psychoanalysis is visualized. The scene is reminiscent of the scene in SCHATTEN where von Wangenheim visualizes Kortners wife in an erotic scenario that's expressionistically rendered, with the dreamers face, a backdrop with her filled with blatant artifice in the expressionist style, where superimpositions come and go. The last time I saw it was on a terrible old vhs of a 16mm from a badly damaged element, but I wasn't awful crazy about the narrative as a thing in itself, or the performance. There's a pretty decent review of the film here (I don't know who that dude is otherwise). But some useful comments:

SECRETS OF A SOUL
(Georg Wilhem Pabst, 1926).

Psychoanalysis was still a novelty to most people at the time this film was made. Pabst, who was very interested in Freud's writings, had the freedom to make any film he wanted after the major success of The Joyless Street. He decided to do a film about a neurosis. The result, the story of a man who seeks help for unwanted violent thoughts, is notable for its innovative techniques, while at the same time demonstrating a naiveté concerning its subject matter that gives it a permanently dated quality.

A professor (Werner Krauss) finds himself increasingly troubled by a murder that occurs in his neighborhood. At the same time he has learned of the return from abroad of a man who was a childhood friend both of him and his wife. After a strange intense nightmare, he begins to notice, to his horror, that the thought of murdering his wife comes frequently into his mind, and with more of a feeling of compulsion as time goes on. A chance meeting with a kindly psychoanalyst (Pawel Pawloff) leads to a long period of therapy, by which he eventually gains insight into the unconscious thoughts and motives that were causing his neurosis. He is cured, happily returning to the security of a loving marriage.

It is interesting to note how a quality of horror has tended to accompany the realm of the Freudian unconscious in cinema. This is just as true of later films such as Hitchcock's Spellbound ('40) and Huston's Freud ('62), where the dream sequences and memories of traumatic events merge seamlessly with the conventions of the horror and thriller genres. In the case of Pabst's film, the uncommon circumstance of a murder occurring in a neighbor's household, plus the lurid nature of the neurosis itself, gives the story an exaggerated tone. It could be argued that such an approach was necessary in order to inspire the audience's interest in a dry subject. I think, though, that there was something in the style of Freud's writings themselves that evoked this sort of aesthetic response. Mental illness is frightening, of course. But beyond that, there must have been a great deal of anxiety in discovering the existence of powerful unconscious forces, and in contemplating their struggle against the formidable power of repression, another of Freud's discoveries.

This sense of disturbance is reflected in Secrets of a Soul. Unfortunately the film resolves everything in a far too facile manner. The ease of the "talking cure," the way all problems evaporate with awareness of the meanings behind the thoughts, is laughable to a present-day audience, at least one that has greater familiarity with psychology. It doesn't help that Kraus is an uninteresting lead actor, and that the cast in general turn in lackluster performances, making it difficult to care very much about what happens.
The main interest in Secrets of a Soul, apart from this naive depiction of its subject, is the remarkable dream sequence that occurs fairly early in the picture - the nightmare that accelerates the professor's neurosis. Two years before Bunuel's Un Chien Andalou, Pabst employs startling, surrealistic images to produce a dreamlike effect. The dreamer is frozen in place, runs up huge stairs, is confronted by a massive, ticking clock - and many other elements containing sexual or other kinds of symbolism. Images grow or diminish in size, or are superimposed on one another. The director uses split screen, sound distortion, weird lighting and perspective. It's not exactly what a real dream is like - I don't think any film has ever succeeded in that - but it does create the feeling of a dream. And this was all done in the camera. There were no special efffects then, as we know them. The camera had to be constantly rewound, and the film shot again - with meticulous planning of the multiple exposures.

There had been dream sequences in movies before (Maurice Tourneur did one in Poor Little Rich Girl ten years earlier, for instance) but this was the first one that tried to approximate a dream's disorientation and illogic. With over seventy years of cinematic dreams behind us, the sequence now looks primitive and old hat. But it was the first of its kind, incredibly difficult to pull off, and accomplished with admirable ingenuity.

[Ledos]

Robert Wiene's Austrian/German film Orlacs Hände is worth picking up for fans of silent horror, but it's a bit of a hit-and-miss affair. It contains one of silent horror's best moments (Orlac approaching the camera with hands outstretched) - but unfortunately also some of the silliest due to Veidt's overacting. The film showcases the skills of overlooked camera maestro Günther Krampf, particularly in the opening scenes. Definitely worth a purchase but it isn't nearly as good as Mad Love.

[Tommaso]

Tribe, as there's nothing about them on the Kino site yet, does this catalogue you mention offer any more info on the silents? Eisenstein's "October", for example: will we get the Meisel score, or Shostakovitch again? Same for Wiene and Pabst, original music or at least something recorded by FWMS, or Sosin or (god beware!) Marotta? Would also be interesting to know if these are 'special editions' a la "Potemkin" and "Nosferatu".

[Tribe]

Tribe, as there's nothing about them on the Kino site yet, does this catalogue you mention offer any more info on the silents? Eisenstein's "October", for example: will we get the Meisel score, or Shostakovitch again? Same for Wiene and Pabst, original music or at least something recorded by FWMS, or Sosin or (god beware!) Marotta? Would also be interesting to know if these are 'special editions' a la "Potemkin" and "Nosferatu".

No, not that kind of info. For Strike it says: "A new DVD edition from Russian archival material of Eisenstein's bold first feature film in which he chronicles a widespread labor strike at a Moscow factory." October is similar: "A new DVD edition from Russian archival material of Eisenstein's reconstruction of events leading up to the October 1917 Bolshevik's overthrow of the Czar."

Both are purported to be "Coming In Spring 2008."

In regard to Orlac and Secrets there is no info at all about the transfers, just very brief synopses of the plot of each movie. They appear advertised as part of a 4 disc German Expressionism Box Set with Caligari and Robison's Warning Shadows. But I'd be very surprised if these were not also individually released as Kino always does.

I wish there was more info also...I'm very much looking forward to these.

I neglected to mention a 3 disc box set called Houdini: The Movie Star. It's to include a 15 episode serial called The Master of Mystery and three films: Haldane of the Secret Service, Terror Island and The Man From Beyond. Forty minutes of "bonus footage, including fragments of lost films and rare 35mm newsreel footage of actual Houdini escapes" is also included.

Tribe

[Tommaso]

Thanks for the info, Tribe, although the few things they say don't bode too well for anything comparable to "Potemkin"/"Nosferatu". Especially putting Wiene and Pabst together with their old "Caligari" and the also not exactly new "Shadows" almost definitely means that they will be low-profile releases, i.e. music by Sosin, no extras to speak of, and English intertitles. Good to see that someone puts them out, though.

[HerrSchreck]

From one of the silent newsgroups on google:

[email protected]

Newsgroups: alt.movies.silent
From: "[email protected]" <[email protected]>
Date: Tue, 30 Oct 2007 10:05:03 -0700
Local: Tues, Oct 30 2007 12:05 pm
Subject: Upcoming "Hands of Orlac" dvd
Reply | Reply to author | Forward | Print | Individual message | Show original | Report this message | Find messages by this author
Just heard that Kino is doing a dvd of this 1924 Conrad Vedit/
Robert Wiene film. No date has been set but the restored FW Murnau
Stiftung print will be used and there may be additional footage from
another source. This is a very underrated film and I'm looking
forward to it finally getting a first class dvd treatment. Perhaps if
it does well, we can expect other Veidt titles to make it to dvd. I'd
love to see a good copy of that most bizarre of films, OPIUM.
Henry Nicolella

WaverBoy View profileFantastic news! The only version I've seen of this is LSVideo's print, far from ideal to say the least, so I'm really excited about this one. I'm wondering what footage is missing from the restoration that would have to be culled from another source...? More options Oct 30, 2:38 pm

Newsgroups: alt.movies.silent
From: WaverBoy <[email protected]>
Date: Tue, 30 Oct 2007 19:38:07 -0000
Local: Tues, Oct 30 2007 2:38 pm
Subject: Re: Upcoming "Hands of Orlac" dvd
Reply | Reply to author | Forward | Print | Individual message | Show original | Report this message | Find messages by this author
Fantastic news! The only version I've seen of this is LSVideo's
print, far from ideal to say the least, so I'm really excited about
this one. I'm wondering what footage is missing from the restoration
that would have to be culled from another source...?
Homo the Wolf View profile
More options Oct 31, 3:44 am

Newsgroups: alt.movies.silent
From: Homo the Wolf <[email protected]>
Date: Wed, 31 Oct 2007 01:44:28 -0700
Local: Wed, Oct 31 2007 3:44 am
Subject: Re: Upcoming "Hands of Orlac" dvd
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Great news indeed, though I hope Kino don't retain the avant-garde
"music" track (choruses of laughter, etc.) that German TV had when
they broadcast a restored version a few years ago.

Jonathan

[email protected] View profile
More options Oct 31, 7:27 am

Newsgroups: alt.movies.silent
From: "[email protected]" <[email protected]>
Date: Wed, 31 Oct 2007 05:27:49 -0700
Local: Wed, Oct 31 2007 7:27 am
Subject: Re: Upcoming "Hands of Orlac" dvd
Reply | Reply to author | Forward | Print | Individual message | Show original | Report this message | Find messages by this author
On Oct 31, 4:44 am, Homo the Wolf <[email protected]>
wrote:

> hope Kino don't retain the avant-garde
> "music" track (choruses of laughter, etc.) that German TV had when
> they broadcast a restored version a few years ago.

> Jonathan

God, I would hope not. The very worst part of that sound track is
when Orlac is being interrogated at the police station and we hear a
halt dozen simultaneous "news" broadcasts in the background (all
babbling about people who have lost their hands).
Henry Nicolella

Sounds like it might not be Kino but the Germans themselves we might hafta look out for on this one (re the soundtrack).

Tom I can't believe your mindset-- here you've got the opportunity to see some fantastic rarely seen films and your grumbling they're not getting the NOSFERATU treatment! Over on another thread you & someone else commented that Schreck & Kerpan remind you guys how much fantastic film there is out there to be seen. The way you see them is to SEE THEM and be joyful when a rare silent fim is going to be released.

Do you really expect someone to give Warning Shadows (!!!) the deluxe box/booklet/extras treatment? That would be professional suicide. Did you read over on the Which MoC's sell best how MICHAEL, TARTUF, and ASPHALT are selling the worst? How he'd love topresent more titles like this but all the surplus warehouse first printing titles just make it prohibitive. Tom no-one buys this material. Lang and some Murnau, yes. Beyond that and POTEMKIN-type titles, no. Isn't it obvious to you by now that you're not going to get whole-hog deluxe superbubblicious treatment of very rare silents like these? Nobody buys them but you me & a few other folks around the globe.

It's just not going to happen-- no one is doing it, period.

[Tommaso]

Sounds like it might not be Kino but the Germans themselves we might hafta look out for on this one (re the soundtrack).

Hmm... I really have to dig out my VHS of this. At the time (might be the last century, really, I haven't seen "Orlac" for ages, but that release is a good reminder) I didn't have any problems with the avantgarde music (if it's indeed the same version), but I might think otherwise now. I can't even recall much of the film except that the storyline at the time reminded me very much of those later 30s or even 50s US horror films.

And I'm not really grumbling, that is: not at all. I just hoped that Kino might come up with something somehow in between "Warning Shadows" and these deluxe sets, say like the forthcoming Paradjanov "Surami" or the Stillers. It's only the idea to combine these new and exciting releases with those old discs that made me think they might be less than what is possible now even for Kino. That said, Sosin's music on the Robison was quite good, as I said before, so no complaints yet. I guess we just have to wait and listen (always supposing Kino did their own soundtrack). If I recall correctly, the Wiene might probably be in "Warning shadows" territory in popularity (but probably is not as good), but Pabst might sell better just because of the director's name, given all the recent releases (though I have no idea how well "Threepenny" sold). And don't worry, I'll buy the Pabst even if the titles are replaced. And the wish for a deluxe edition was rather directed at the Eisensteins, anyway.

It's just not going to happen-- no one is doing it, period.

No nitpicking, just a reminder of that out-of-the-blue supa-dupa edition of "Der Schatz". Though I'm still not sure whether THAT film deserved it...

[domino harvey]

Kino's releasing another boxed set of Film Noirs on Tuesday, all five titles already available separately. It's up on DD if you search for "Kino Noir" as "Film Noir Vol 2" if you have the desire to pick it up before the sale ends.

[Via_Chicago]

Kino's releasing another boxed set of Film Noirs on Tuesday, all five titles already available separately. It's up on DD if you search for "Kino Noir" as "Film Noir Vol 2" if you have the desire to pick it up before the sale ends.

That's a great set, and an awesome value at even the Amazon price. Especially when you consider that even the DVDPlanet prices for these discs individually is upwards of $22.

[jbeall]

Kino's releasing another boxed set of Film Noirs on Tuesday, all five titles already available separately. It's up on DD if you search for "Kino Noir" as "Film Noir Vol 2" if you have the desire to pick it up before the sale ends.

Great find, domino. I think I'll pick this up.

So is this version of Scarlet Street an upgrade from Kino's earlier version?

[domino harvey]

I believe they're all the existing discs only in slimline cases, meaning it should be the same great Scarlet Street Kino already put out with the wonderful Kalat commentary, but can't say 100%.