Criterion Cast: Main Episodes

Hot off the press, David Blakeslee and Aaron West get together to dissect the clues provided by the Criterion Collection’s annual Wacky Drawing hinting at upcoming releases for 2018.

Follow along with our conversation by referencing the alphabet-coded breakdown of this year’s illustration by Jason Polan.

Links to past analyses:

Here are links to the various drawings from the past few years

To celebrate The Criterion Collection’s 2017 releases – and there’s a lot to celebrate – Aaron West, Arik Devens, David Blakeslee, Jordan Essoe, Scott Nye and Trevor Berrett gather to talk about the past year in Criterion, including their favorite three Criterion releases of 2017.

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This time on the podcast, Scott is joined by David Blakeslee and Trevor Berrett to discuss Monte Hellman’s The Shooting and Ride in the Whirlwind.

In the midsixties, the maverick American director Monte Hellman conceived of two westerns at the same time. Dreamlike and gritty by turns, these films would prove their maker’s adeptness at brilliantly deconstructing genre. Shot back-to-back for famed producer Roger Corman, they feature overlapping casts and crews, including Jack Nicholson in two of his meatiest early roles. The Shooting, about a motley assortment of loners following a mysterious wanted man through a desolate frontier, and Ride in the Whirlwind, about a group of cowhands pursued by vigilantes for crimes they did not commit, are rigorous, artful, and wholly unconventional journeys to the Old West.

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This time on the podcast, Trevor Berrett, David Blakeslee, and Scott Nye discuss Jack Clayton’s The Innocents.

This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges. A psychosexually intensified adaptation of Henry James’s classic The Turn of the Screw, cowritten by Truman Capote and directed by Jack Clayton, The Innocents is a triumph of narrative economy and technical expressiveness, from its chilling sound design to the stygian depths of its widescreen cinematography by Freddie Francis.

In this episode, David Blakeslee, Trevor Berrett and Matt Gasteier provide a conclusion to their conversations about “Late Ozu”, carried over from the final three episodes of The Eclipse Viewer podcast. They’re also joined by Scott Nye.

The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization. Though the widower Shuhei (frequent Ozu leading man Chishu Ryu) has been living comfortably for years with his grown daughter, a series of events leads him to accept and encourage her marriage and departure from their home. As elegantly composed and achingly tender as any of the Japanese master’s films, An Autumn Afternoon is one of cinema’s fondest farewells.

This time on the podcast, Trevor Berrett and Scott Nye discuss Andrei Tarkovsky’s Stalker.

Andrei Tarkovsky’s final Soviet feature is a metaphys­ical journey through an enigmatic postapocalyptic landscape, and a rarefied cinematic experience like no other. A hired guide—the Stalker—leads a writer and a professor into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, Tarkovsky created an immersive world with a wealth of material detail and a sense of organic atmosphere. A religious allegory, a reflection of contemporaneous political anxieties, a meditation on film itself—Stalkerenvelops the viewer by opening up a multitude of possible meanings.

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This time on the podcast, David Blakeslee and Catherine Stebbins discuss the 1967 Hollywood blockbuster Valley of the Dolls.

Cutthroat careerism, wild sex, and fierce female protagonists are all on offer in this adaptation of Jacqueline Susann’s sensational and wildly popular novel. Patty Duke, Barbara Parkins, and Sharon Tate star as three friends attempting to navigate the glamorous, pressurized world of big-time show business—the “valley” is not a place but a narcotized state of mind, and the “dolls” are the pills that rouse them in the morning and knock them out at night. Blending old-fashioned gloss with Madison Avenue grooviness, director Mark Robson’s slick look at the early days of sexual liberation and an entertainment industry coming apart was a giant box-office hit, and has become an unforgettably campy time capsule of the 1960s.

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This time on the podcast, Scott Nye, David Blakeslee, and Trevor Berrett discuss Michelangelo Antonioni’s Blow-Up.

In 1966, Michelangelo Antonioni transplanted his existentialist ennui to the streets of swinging London for this international sensation, the Italian filmmaker’s first English-language feature. A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park. Antonioni’s meticulous aesthetic control and intoxicating color palette breathe life into every frame, and the jazzy sounds of Herbie Hancock, a beautifully evasive performance by Vanessa Redgrave, and a cameo by the Yardbirds make the film a transporting time capsule from a bygone era. Blow-Up is a seductive immersion into creative passion, and a brilliant film by one of cinema’s greatest artists.

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This time on the podcast, David Blakeslee and Trevor Berrett discuss George Stevens’s Woman of the Year.

George Stevens’s Woman of the Year, conceived to build on the smashing comeback Katharine Hepburn had made in The Philadelphia Story, marked the beginning of the personal and professional union between Hepburn and Spencer Tracy, who would go on to make eight more films together. This tale of two newspaper reporters who wed and then discover that their careers aren’t so compatible forges a fresh and realistic vision of what marriage can be. The freewheeling but pinpoint-sharp screenplay by Ring Lardner Jr. and Michael Kanin won an Academy Award, and Hepburn received a nomination for her performance. Woman of the Year is a dazzling, funny, and rueful observation of what it takes for men and women to get along—both in the workplace and outside of it.

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This time on the podcast, Trevor Berrett and David Blakeslee discuss Peter Weir’s Picnic at Hanging Rock.

This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema. Based on an acclaimed 1967 novel by Joan Lindsay, Picnic at Hanging Rock is set at the turn of the twentieth century and concerns a small group of students from an all- female college who vanish, along with a chaperone, while on a St. Valentine’s Day outing. Less a mystery than a journey into the mystic, as well as an inquiry into issues of class and sexual repression in Australian society, Weir’s gorgeous, disquieting film is a work of poetic horror whose secrets haunt viewers to this day.

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