Lionsgate: Jean-Luc Godard Collection

[nick]

I received my set a couple days ago and popped each disc in just to verify quality; I can attest that the quality of the other films are just as good as Prenom: Carmen.

[Jean-Luc Garbo]

I watched Detective and Helas Pour Moi last night and they are as good as Carmen - like nick said.

[Der Müde Tod]

I watched Passion last night, and there seems to be a synching problem at two points: the first at about 14'20'', the second a little after 26''. The moving lips do not correspond to the spoken audio (sometimes, the lips move without sound, sometimes there is conflicting sound). The subtitles are in synch with the sound. I realize that in this film the voices very often come from the off, but I doubt very much this effect is on purpose.

Could somebody with another version of the film check their version against the Lionsgate disk?

[Oedipax]

I watched Passion last night, and there seems to be a synching problem at two points: the first at about 14'20'', the second a little after 26''. The moving lips do not correspond to the spoken audio (sometimes, the lips move without sound, sometimes there is conflicting sound). The subtitles are in synch with the sound. I realize that in this film the voices very often come from the off, but I doubt very much this effect is on purpose.

Could somebody with another version of the film check their version against the Lionsgate disk?

It's intentional. It's there on the Cahiers du Cinema DVD as well, and I've read about it in more depth in at least one essay or book. Definitely one of Godard's strangest experiments with sound - Nouvelle vague is much more successful in that regard.

[Cronenfly]

I watched Passion last night, and there seems to be a synching problem at two points: the first at about 14'20'', the second a little after 26''. The moving lips do not correspond to the spoken audio (sometimes, the lips move without sound, sometimes there is conflicting sound). The subtitles are in synch with the sound. I realize that in this film the voices very often come from the off, but I doubt very much this effect is on purpose.

Could somebody with another version of the film check their version against the Lionsgate disk?

It's intentional. It's there on the Cahiers du Cinema DVD as well, and I've read about it in more depth in at least one essay or book. Definitely one of Godard's strangest experiments with sound - Nouvelle vague is much more successful in that regard.

It must be a bitch supervising the A/V on transfers for Godard's movies (especially the later ones)...

[Oedipax]

It must be a bitch supervising the A/V on transfers for Godard's movies (especially the later ones)...

Indeed. He's certainly not going to supervise things, either. I remember the R1 DVD of Weekend from New Yorker "corrected" a shot where the film rolls vertically in the frame, leaving the bottom of the frame offset into the top of the frame for a few seconds (it's the car crash/Hermès handbag sequence). It was preserved on the R2 from Artificial Eye at least!

[Der Müde Tod]

It's intentional. It's there on the Cahiers du Cinema DVD as well, and I've read about it in more depth in at least one essay or book. Definitely one of Godard's strangest experiments with sound - Nouvelle vague is much more successful in that regard.

Thanks for clarifying this. I must say I have never paid so much attention to an audio track during the first viewing of a film like for this one after I stumbled across this "glitch". It was definitely worth it, because the track is extremely fascinating (regardless of the "glitches").

[jbeall]

Dave Kehr Critic's Choice: New DVDs

It's a nice essay comparing Pierrot Le Fou to Passion and giving some context to Godard's career.