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Posted: **Sun Apr 12, 2009 3:31 pm**

I don't want to get into the middle of what is essentially ancient history brought up by a noob, but I was under the impression (could be wrong) that the Kino was the only disc that rendered the colors kind of properly...? i e the color sequences (especially the outdoor sequences) more resemble the Solaris color stock, and that it's the only presentation where the B&W is actual B&W.

That said, the disc is from nearly a decade ago-- they all need to be upgraded. Probably says a lot about the quality of RusCiCo's presentation that Kino hasn't upgraded to that "new" source... especially considering so many of their obscure "export" sources for Soviet film from the VHS days (of which Mirror I assume is one, like the old Pomegranites, and Dersu U.) have fallen into RusC's mitts.

Posted: **Mon Apr 13, 2009 2:55 am**

HerrSchreck wrote:I don't want to get into the middle of what is essentially ancient history brought up by a noob, but I was under the impression (could be wrong) that the Kino was the only disc that rendered the colors kind of properly...? i e the color sequences (especially the outdoor sequences) more resemble the Solaris color stock, and that it's the only presentation where the B&W is actual B&W.

That said, the disc is from nearly a decade ago-- they all need to be upgraded. Probably says a lot about the quality of RusCiCo's presentation that Kino hasn't upgraded to that "new" source... especially considering so many of their obscure "export" sources for Soviet film from the VHS days (of which Mirror I assume is one, like the old Pomegranites, and Dersu U.) have fallen into RusC's mitts.

Are you talking about THE MIRROR here? As far as I know, some of the footage is supposed to be in sepia (mainly the newsreel footage), and some is supposed to be in black and white (esp. the dream sequences). On the whole, I find the color in Kino's DVD of THE MIRROR to be overly cool--as if someone were compensating in the transfer for an overly magenta print. Ruscico's transfer looks overly pinkish, to my eyes. It's not really an improvement over the Kino, and its subtitle translations leave a lot to be desired, especially during the poetry. For me, by far the nicest transfer is from the restored Krupnyi Plan/Lizard DVD in Russia. It has a full color range that really flatters the painterly compositions in the film--I'd love to see this subtitled.

In general, I suspect a possible complicating factor might be the quality of Soviet print stock versus negative stock. A number of years ago I heard (from Jessica Rosner?) that one point all of Kino's prints of SOLARIS "died" prematurely because of poor quality stock. They should still be able to work with the negative, though.

Posted: **Mon Apr 13, 2009 8:47 am**

jsteffe wrote: For me, by far the nicest transfer is from the restored Krupnyi Plan/Lizard DVD in Russia. It has a full color range that really flatters the painterly compositions in the film--I'd love to see this subtitled.

Your impression is confirmed by the Beaver caps. The first cap is especially telling and pretty close to how I remember the film looked in the cinema and on TV. However, there still seems to be sepia all over the place in the b&w sequences. Although I also think that the Kino looks poor, a quick look at those caps shows how much more impressive Margarita Terekhova's face looks in pure b&w. And Kino is still the only company who got it right in this respect.

Posted: **Mon Apr 13, 2009 1:30 pm**

It's a shame we arthouse types lack the technical know-how of the anime/fantasy crowd.

If only we possessed such skills and the will to use them, those Lizard editions wouldn't have been out a week without some industrious goober ripping the audio and video and adding a subtitle file.

Oh, to be an industrious goober with techie know-how (or at least the close friend of one...)

Posted: **Mon Apr 13, 2009 1:50 pm**

I've just watched two docs: Ulmer: The Man Offscreen, and Griffith: The Father of Film.
Both are superb.

Could you elaborate just a tad, Herr S? I'm somewhat of a nut about Ulmer (though no David Kalat expert) & I'm intrigued by this documentary, but one of the Amazon customer reviews really trashes it:

The makers of this documentary assume that the viewers already know something about the king of the Bs. Taken that into account, the additional information it delivers is rather poor. It is great to have an interview with Roger Corman, but it does not reveal if Ulmer and Corman personally knew each other. There are two guys in white sneakers and beige raincoats strolling through a soggy cementery, one doing some gratuitious comment on the subject of the documentary, the other saying yeah, that's true, you're absolutely right - it has no informative value whatsoever. I thought the interviews with Ulmer's wife and daughter in the bonus material of some of the Ulmer movies released on DVD are more interesting and insightful than this documentary.

Of course it looks like I can get a used copy for only 13 bucks, but still ...

Posted: **Thu Apr 16, 2009 2:52 pm**

MichaelB wrote:
Rich Malloy wrote:Still, I'm a bit surprised at the complete lack of response (on Kino's new "HAPPY TOGETHER" and "FALLEN ANGELS" releases). Despite a substantial contingent of Wong-o-philes on this forum, we can't find a single person who's purchased the Kino discs - much less a formal review and comparison to prior releases. It appears that Kino is simply too late to the party and asking far too much for the pleasure of its company for anyone to care. Plus, that announcement last Fall that Kino's first blu-ray release would be "FALLEN ANGELS" renders the standard-def release to be something quite a bit less than what we were led to expect.
Exactly. There's absolutely no point in me buying the current Kino discs, as the Artificial Eye Happy Together is both excellent and significantly cheaper, and I strongly doubt that the Kino edition justifies the price premium (which the exchange rate at my end exaggerates quite substantially). And since they announced Fallen Angels on Blu-ray, that makes buying the new DVD utterly pointless - the original Kino disc certainly had its flaws, but it'll do for now.

In the very unlikely chance that Kino is monitoring our comments, I'd like to point out that you have now lost a sale. Mine, and perhaps not just a few others. I happen to know a veritable surfeit of Wong fans, but I don't know a single person who's purchased or seen either of these Kino releases.

On the other hand, Artificial Eye's well-reviewed and much-reviewed release of the restored "HAPPY TOGETHER" is now 63%-off at Amazon.co.uk, and I can no longer resist. Had Kino simply provided a review copy of their discs to one or more of the websites that matter (DVD Times, DVD Beaver, for example), or provided Netflix with 1 or 2 copies to upgrade their prior releases, then the situation may well have been different. Even the slightest improvement would have justified my paying a rather exorbitant premium (three times as much!) for Kino's release.

So, Kino, if you're wondering why your WKW discs aren't moving, here's your explanation.

Posted: **Fri Apr 17, 2009 4:23 am**

Tommaso wrote: Your impression is confirmed by the Beaver caps. The first cap is especially telling and pretty close to how I remember the film looked in the cinema and on TV. However, there still seems to be sepia all over the place in the b&w sequences. Although I also think that the Kino looks poor, a quick look at those caps shows how much more impressive Margarita Terekhova's face looks in pure b&w. And Kino is still the only company who got it right in this respect.

Yes--that's why I'm keeping my Kino disc, even though I have the Krupny plan disc and can understand Russian. It also has Russian subtitles, which help. (They help me, anyway.)

What I find interesting is that the new restored transfer from Mosfilm/Krupnyi Plan doesn't use black and white in the sequences you mention. They have access to a lot of excellent technicians and film historians in Moscow. I'd like to learn more about what were the technical specifications for the original release, since I was too young to see the film on the big screen when it first came out.

On a not wholly unrelated note, I'm glad to hear that Kino is taking a great deal of care in the the color grading of their new hi-def transfer of Tarkovsky's THE SACRIFICE. Apparently they're using an original release print that still has good color as a reference for the subtle color scheme in that film, among other things.

Posted: **Fri Apr 17, 2009 4:49 am**

Rich Malloy wrote: I happen to know a veritable surfeit of Wong fans, but I don't know a single person who's purchased or seen either of these Kino releases.

I purchased both of these. I enjoyed Chungking Express and decided to give these a shot as blind buys. I was on the verge of ordering the Artificial Eye release of Happy Together when I stumbled on the Kino SE news, and since I prefer to order R1 when possible I went with the latter. I had also tired of waiting for a BD release of Fallen Angels.

I have not yet viewed these in their entirety but have quickly sampled a few scenes from each of the discs. The PQ of both anamorphic transfers appears quite good to me. After looking at screen shots of existing releases on DVD Beaver, I can honestly say that I am happy with these purchases.

The packaging, cover art, and menus are all tasteful, aesthetically pleasing, and well-designed. The white subtitles are unobtrusive. I cannot comment on the sound as I am currently forced to rely on my television's speakers. There are multiple extra features in both packages, but I have not yet sampled them.

Anyway, there you are. I got these for under $20 each and have no complaints, although I may be kicking myself if BD's are announced soon.

Posted: **Fri Apr 17, 2009 6:28 am**

Rich Malloy wrote:So, Kino, if you're wondering why your WKW discs aren't moving, here's your explanation.

I've long since given up trying to get review copies out of them for Sight & Sound - they've never even replied, let alone sent anything.

Criterion and Flicker Alley are happy to send them, and they get reviewed accordingly - in fact, I think S&S has reviewed every Flicker Alley release over the past year or so, and I'm pretty sure they've all been raves (certainly, everything I've written has been).

It's a real shame, as I'm a big fan of Kino and would love to support them more actively, but they need to be equally proactive at their end. For obvious lead-time reasons I can't wait till release date - at least not without the review appearing two or three months late, making it effectively useless.

Posted: **Fri Apr 17, 2009 8:16 am**

jsteffe wrote:new hi-def transfer of Tarkovsky's THE SACRIFICE

Where did you hear this and will you marry me?

Posted: **Fri Apr 17, 2009 9:13 am**

jsteffe wrote: I'm glad to hear that Kino is taking a great deal of care in the the color grading of their new hi-def transfer of Tarkovsky's THE SACRIFICE. Apparently they're using an original release print that still has good color as a reference for the subtle color scheme in that film, among other things.

Making an HD telecine of "a release print" is not the cleverest thing to do.

Posted: **Fri Apr 17, 2009 1:29 pm**

I've long since given up trying to get review copies out of them for Sight & Sound - they've never even replied, let alone sent anything.

I get a few things now & then - or to clarify: my publisher gets a few things now and then & I think it's partly based on his working relationship with them while he was employed with First Run. Before he came on board with the two magazines I edit, it had gotten difficult to get anything from them. I understand the rationale is that advertising and review copies don't increase the number of units they sell.

Posted: **Fri Apr 17, 2009 1:54 pm**

HarryLong wrote:I understand the rationale is that advertising and review copies don't increase the number of units they sell.

If true, that's so perverse as to be utterly baffling. The cost of sending out a review copy is negligible (in many cases a DVD-R plus postage - I rarely get much in the way of packaging), and if it's any good it generates the equivalent of a free ad - and sometimes a full-page ad at that.

Just to give an actual example, a couple of years ago I talked my editor into sanctioning a big full-page splash to the Soviet Animated Propaganda Films compilation, but Kino never even acknowledged my emails, let alone sent me anything to review - so it never happened. And what's especially bizarre is that aside from Schreck, you'll find few writers more instinctively sympathetic towards Kino's catalogue than me!

Oh well, it's their decision - but I know for a fact that Flicker Alley, Second Run and MoC don't exactly slit their collective wrists when one of their titles gets singled out for a big "rediscovery" feature. In fact, they usually seem quite pleased.

Posted: **Fri Apr 17, 2009 2:20 pm**

MichaelB wrote:Just to give an actual example, a couple of years ago I talked my editor into sanctioning a big full-page splash to the Soviet Animated Propaganda Films compilation, but Kino never even acknowledged my emails, let alone sent me anything to review - so it never happened. And what's especially bizarre is that aside from Schreck, you'll find few writers more instinctively sympathetic towards Kino's catalogue than me!

I believe the reason may be that they are very careful not to sell (directly) or promote many of their titles outside North America. The Soviet Animated Propaganda collection, like many of their titles, has a notice attached to it on their website: "(Note: DVD not for sale to customers outside U.S. and Canada)". If you try to order any of these titles from their website, they just ignore the order - no further explanation. I've always assumed this is the reason they always refused to send me their paper catalogue, even with an order of unrestricted titles.

Of course, this doesn't excuse their lack of courtesy in not even replying to your e-mails, but in my experience they have always been difficult to communicate with on any issue (even delayed orders).

Posted: **Fri Apr 17, 2009 2:48 pm**

Kino has always baffled me on so many issues...I think HerrSchreck has some insight into their operations. If you read this, Schreckster, can you summarize how the Kino business came about, who runs it, difficulties they have that are particular to them, and the like. Actually, anyone who may have info about them should feel welcome to lay it out.

I have many, many Kino titles...my view is its better to see something even if its not at a Criterion level, than not see it all. That doesn't mean I'm not frustrated by them at times.

Posted: **Fri Apr 17, 2009 2:54 pm**

Jonathan S wrote:I believe the reason may be that they are very careful not to sell (directly) or promote many of their titles outside North America. The Soviet Animated Propaganda collection, like many of their titles, has a notice attached to it on their website: "(Note: DVD not for sale to customers outside U.S. and Canada)".

That sort of makes sense, but it seems absurdly over-cautious. While I understand why they'd be reluctant to sell directly outside the US/Canada, I doubt an independent review could be said to constitute "promotion", not least because there's no way of telling if the distributor was knowingly involved in the first place.

For instance, PWA probably still don't know that the last issue featured a somewhat belated but glowing review of their Anthology of Polish Experimental Animation, as it was from my own paid-for copy.

Posted: **Fri Apr 17, 2009 3:18 pm**

Although I'm not an objective participant (since I work at Kino and am often the one providing review copies to web sites and publications), the issue of supplying copies of Kino DVDs to publications outside the United States is delicate and has to be tackled on a case-by-case scenario.

Many of our producers have separate deals with foreign distributors, and they are often in the process of closing deals as Kino works on the production of these discs. That was certainly the case with the Soviet Propaganda set. So, when a foreign publication reviews a Kino DVD before the film's local version gets released, they are potentially hurting the set/film's local release on DVD.

However, a magazine like Sight + Sound is truly international and I should have handled this differently. They deserve an explanation on our screener policy and I'll address this issue with them sometime soon. I also understand the frustration expressed here in regards to other web sites not reviewing Kino product and I will work towards correcting these mistakes as best as I can.

Please, just make sure to direct all screener requests to [email protected]

Thanks for the support and criticism.

Rodrigo

Posted: **Fri Apr 17, 2009 3:50 pm**

peerpee wrote:
jsteffe wrote: I'm glad to hear that Kino is taking a great deal of care in the the color grading of their new hi-def transfer of Tarkovsky's THE SACRIFICE. Apparently they're using an original release print that still has good color as a reference for the subtle color scheme in that film, among other things.
Making an HD telecine of "a release print" is not the cleverest thing to do.

I thought he said they were using the release print as a color reference (IB's are used in this fashion all the time), not for actual telecine.

Tribe, I know very little-- I know they're run by Donald Krim, they've been around for a couple decades. I casually know some of the peons from going up there to pick up silents, but that's about it. Here's a monograph on Krim:

Donald Krim, President of Kino International
Published on: 11/17/2001

In the world of film distribution, few companies have the kind of devotion to preserving classics and introducing the world to new films for which Manhattan-based Kino International is known.

Cinema Gotham recently sat down with Kino president Donald Krim to discuss the company's past, present and future.

"When I finished law school I went to work at United Artists," explained Krim."That was in 1971.I ran the non-theatrical film department, which rented films out to colleges."In addition to their own classic library, United Artists also owned all pre-1948 Warner Brothers films, including Casablanca and The Adventures of Robin Hood.After a few years, Krim worked on the formation of United Artists Classics, the first major distribution company-owned theatrical classics division, and the granddaddy of companies like Fox Searchlight and Sony Pictures Classics.Eventually UA also added the distribution rights to the MGM library (including films like The Wizard of Oz) to its roster and started distributing new foreign films.Krim combined all of these libraries under one roof and helped create something unique.Then, in 1977, he took all the insider knowledge he had accumulated and struck out on his own.

While Krim was at United Artists, Bill Pence was working at Janus Films, which held the rights to an amazing library of films including M, La Strada, Rashomon and Beauty and the Beast, and should be familiar to DVD fans as the company that currently releases their films under the Criterion Collection banner.

Krim easily rattles of the ten or so rep houses in New York in the 70's.After a year, however, Pence decided he'd had enough and opted to sell the fledgling business to Krim.

Once in control of Kino, Krim immediately started to expand."Within a few months of taking over Kino, we made a deal to handle the Chaplin films, like Modern Times and The Great Dictator. [Our rights were for] theatrical.We weren't getting home video, which was just in its beginning, and television.Then we took on the Selznick films, including [Alfred Hitchcock's] Rebecca and Notorious.The next year we took over the Alexander Korda library, including Thief of Bagdad."

Julia Dash's Daughters of the Dust

"Around 1979 we started being offered new foreign films," Krim recalled."I took a flyer for a Japanese film from a director named Masahiro Shinoda...My wife liked it and we decided to do that...The film was [renamed] The Battle of Orin.We opened it at the predecessor to the Lincoln Plaza which was the Cinema Studio theater.It got some decent reviews but didn't do any business.But it was a nice film and we weren't discouraged.

While Krim may not be interested in producing his own films ("Too risky," he says), there will always be films – both new and old – in need of the kind of knowledgeable attention that Kino can deliver.

Posted: **Fri Apr 17, 2009 11:03 pm**

"Around 1979 we started being offered new foreign films," Krim recalled."I took a flyer for a Japanese film from a director named Masahiro Shinoda...My wife liked it and we decided to do that...The film was [renamed] The Battle of Orin.We opened it at the predecessor to the Lincoln Plaza which was the Cinema Studio theater.It got some decent reviews but didn't do any business.But it was a nice film and we weren't discouraged.

Just so no one comes in to correct, I'm sure Don said "Ballad of Orin" and he was misquoted. I believe Sandakan 8 and then Peter Lillienthal's David were Kino's next big foreign films. But their first real hits were Percy Adlon's Sugar Baby and Techine's Scene of the Crime. It was really Daughters of the Dust that put them seriously on the map. I was lucky to work there for seven years.

Posted: **Sat Apr 18, 2009 2:52 am**

Does anyone have a link to the source of the new HD Sacrifice print?

Posted: **Sat Apr 18, 2009 3:28 am**

rodrigokino wrote:Although I'm not an objective participant (since I work at Kino ...)

Well, Rodrigo...as an insider anything about upcoming releases you can divulge? O:)

Posted: **Sat Apr 18, 2009 4:32 am**

drdoros wrote:I believe Sandakan 8 and then Peter Lillienthal's David were Kino's next big foreign films.

Hard to imagine Sandakan 8 as any sort of a hit. While Kinuyo Tanaka is pretty remarkable in this, the film as a whole (whenever she is not present in a scene) is pretty poor. ;~}

Posted: **Sat Apr 18, 2009 5:26 am**

Can anyone also confirm or deny the Out 1: Spectre rumor that's been hovering over Kino?

Posted: **Tue Apr 21, 2009 7:56 pm**

Kino has an eclectic taste, so I'm not sure what news might be useful here.

But I can certainly vouch for the work put on the production (and release) of the Momma's Man DVD, a title that streets on May 5 – in two weeks.

This DVD comes with an exclusive 42-minute featurette directed by Azazel Jacobs, where he returns the film's set (i.e. his parents' house), and also brings a 14-minute short film by Ken Jacobs titled "Capitalism: Child Labor." Plus, Azazel Jacobs' first film "Rain Building Music" (7 min.) is also included.

Moreover, Kino will be releasing a restored version (Kudos to the George Eastman House) of Sherlock Holmes (1922), starring John Barrymore, and the much-anticipated Nikkatsu titles: Detective Bureau 2-3: Go To Hell Bastards, and 3 Seconds Before Explosion.

I am also very happy that Kino will be distributing the KimStim picture We Feed The World, an in-depth expose on the politics of the food industry worldwide. Let's just say that if you had any doubt about how damaging (to the economy of in-development nations) first-world, agricultural subsidies really are... Look no further! :-/

For those who are curious, our first Blu-ray title will be the documentary Harvard Beats Yale 29-29, which should be available on July 28. Narrated by the great Tommy Lee Jones.

More soon!

Posted: **Tue Apr 21, 2009 8:09 pm**

I know that it involves oodles of restoration work, but it'd be nice to have a vague idea of when the full METROPOLIS might be appearing on US shelves.
(Hell, a theatrical release wouldn't be inappropriate.)

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