Criterion Discussion and Random Speculation Volume 7

[dwk]

Jamelle Bouie posted on Blue Sky that he wrote an essay on Network for Criterion. He didnt say if it was for their website or a physical release.

[yoloswegmaster]

Highly likely it's for a physical release:

Also just found a post on Reddit where someone overheard a Criterion employee say that Network was coming next year.

[Beloved Aunt]

I dearly wish Criterion would nab as many (good) Minnelli films as they can, and release them with copious commentary + other things from Liza and the plentiful Minnelli experts out there. I can't believe they haven't started this yet! I've never even heard of the possibility of Criterion releasing a MInnelli film, for some odd reason. Huh.

[ryannichols7]

Jamelle Bouie posted on Blue Sky that he wrote an essay on Network for Criterion. He didnt say if it was for their website or a physical release.

it'll be amusing at this point if we see Network before Dog Day Afternoon. I know the latter is still fairly unconfirmed as coming to Criterion (just that one @dogsofcriterion instagram post), but since Warner hasn't released it either, or licensed to anyone else...

[Beloved Aunt]

I would also love it if Crit would release a 3-film set "Herbert Ross' Actually Good Films" (not necessarily all of them), containing at the very least The Owl and the Pussycat, Pennies from Heaven, and Boys on the Side (the last w/ a Don Roos commentary) and other stuff of course. Other candidates include but, maybe, not limited to: Goodbye, Mr. Chips and The Seven-Per-Cent Solution.

[CSM126]

I’d settle for Boys on the Side because I love that film but I’m sure that’s a minority opinion around here.

[Beloved Aunt]

I just don't know about Boys on the Side, John Simon loved it but I really know very little about its cultural whatever or any critical reputation outside of John Simon, but if Criterion ere to take any interest in any Ross films I would have to assume they'd be the other two of the three I mentioned--The Owl and the Pussycat is a very charming Streisand film and sort of a 1970s Hollywood version of a (good) Tracy-Hepburn film, so you'd think there's some marketability (and interest from Criterion) there, and it's my semi-vague impression that Pennies from Heaven is getting at least a bit of a broader critical (and popular? to some degree? maybe?) reappraisal, and since it stars Steve Martin I'm pretty sure it always had a bit of a visibility boost, although I think at least in the past a fair bit of that was not actually positive.

[beamish14]

I just don't know about Boys on the Side, John Simon loved it but I really know very little about its cultural whatever or any critical reputation outside of John Simon, but if Criterion ere to take any interest in any Ross films I would have to assume they'd be the other two of the three I mentioned--The Owl and the Pussycat is a very charming Streisand film and sort of a 1970s Hollywood version of a (good) Tracy-Hepburn film, so you'd think there's some marketability (and interest from Criterion) there, and it's my semi-vague impression that Pennies from Heaven is getting at least a bit of a broader critical (and popular? to some degree? maybe?) reappraisal, and since it stars Steve Martin I'm pretty sure it always had a bit of a visibility boost, although I think at least in the past a fair bit of that was not actually positive.

Ross was a very underrated director, but Pennies From Heaven is really a testament to the greatness of Dennis Potter, and it’s unfortunate that many of his greatest works for television are still only available as bootlegs (albeit in broadcast quality, like Blackeyes and Tender is the Night).

[crimlaw]

As far as I’m concerned, Herbert Ross did only two films I really, really enjoy:

Play it Again, Sam
and
The Last of Sheila.

Since Allen is in boutique label purgatory, only the later is Criterion worthy. (Well, sort of)

[Lowry_Sam]

Play It Again Sam would be my first choice & I wouldn't put it or The Front completely out of the realm of possibility as Allen didn't direct.

[Beloved Aunt]

The Front is doo-doo. The Front is poop. A rare stinker and dullard from Ritt.

[Lowry_Sam]

I would strongly disagree. It might not be the comedy one would expect with Allen & Mostel, but it is one of the few Hollywood films to take on one of Hollywood's biggest sins directly and it's infinitely better than Stanley & Iris, Nuts, The Sound & The Fury or The Black Orchid.

[TechnicolorAcid]

I should point out that Play It Again, Sam and The Last of Shelia do already have Blu-Rays from Kino so the odds of Criterion snatching them are low to none unfortunately. Plus, The Front does have a region free Blu-Ray from Indicator, for anyone who wants to a good release of that one.

[beamish14]

The Front is doo-doo. The Front is poop. A rare stinker and dullard from Ritt.

I think it’s an immensely powerful work. One of the all-time great final scenes, too. Zero Mostel is excellent as well

[Beloved Aunt]

Ross was a very underrated director

He was really a first-rate director of actors. As Domino said, the "bland as a cereal commercial" side of some of his films is real enough, but something like The Owl and the Pussycat makes him the top George Cukor-style star-wrangler of his day. It's too bad he didn't hold out for more scripts worthy of his talents, because I think he could have built up a real reputation. (And it's too bad there isn't a longer director's cut of Pennies from Heaven. Another hour or so of material from the mini-series could have solved what problems it has, I think.)

[buckeye]

January 2026 titles:
The Dead

The Dead is one of those films I really wasn't aware of until later in life. I believe Roger Ebert included it in his 'Great Movies' list. Certainly one of the lesser known John Huston films. First day purchase for me.

[Beloved Aunt]

Here's another idea: how about a Robert Benton film or two? I'm thinking most of The Late Show, especially because I think a good restoration might do that film some favors re: the audience, as its one flaw is that its rather weakly/recessively photographed, which esp. since its a pretty understated piece of material, I wonder if it may cause some viewers to underrate it. A new lick of paint can sometimes breathe new life into a film, at least that's what seeing the restored version of Nashville did for me. Of course, there's have to be a restoration of The Late Show, in the first place.

[therewillbeblus]

Nadine is by far his best film and would very likely gain a cult following if more widely seen

[Beloved Aunt]

Maybe Criterion could do a Benton noir twofer, leaving out Still of the Night, since I've never heard of it having fans! & would Twilight be a good fit for the label? It has a more mixed rep.

[therewillbeblus]

It’s terrible

[Beloved Aunt]

I wonder if Benton's passing has stirred additional interest up in his work? I'm guessing not though, he's about as low-profile as a multiple Oscar winner from the 1970s-80s can be, at least online

[Tuco]

BAD COMPANY, a great revisionist Western from 1972, is available on blu from Fun City Editions (off-topic - perhaps a re-branding is in order?). His first feature, and quite good.

[beamish14]

Nobody’s Fool is stunning. Beautiful adaptation of Richard Russo’s wonderful novel

[Buttery Jeb]

A new 35th Anniversary restoration of Barbara Kopple's American Dream has been supervised by Janus Films and The Criterion Collection, and will be screened as part of the lead-up for next year's Sundance Film Festival (as part of a farewell celebration for the Festival's last year in Park City). Criterion's new restoration of House Party will also be screened as part of the series.

[CSM126]

Good to hear that more Kopple is finally coming. A Blu upgrade of Harlan County would be nice, too.