Word: criterion
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Dates: during 2000-2009
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...record show that it was a clever marketing ploy for Criterion to number its releases, with the number printed on the spine of the packaging. That lets you know, when you look at your collection lined up on a shelf, where the gaps are. The dedicated collector will feel these gaps like they were missing bicuspids. This plays to his or her worst pathologies and has probably boosted Criterion's profit margins by a healthy amount every year...
...list that follows is not a selection of the greatest films of all time. That list would have to include a number of titles, like Vertigo, Citizen Kane and 2001, that are not Criterion. It's not even a list of the greatest films, like L'Avventura and Jules and Jim, that are in Criterion's inventory. This is a list of the best Criterion releases considered as imaginative products and, if you will, public services - the discs that have the most beautifully cleaned up prints, the most desirable extras, the most illuminating commentary tracks...
...record, I am not associated with the good people at Criterion, and have not, so far as I know, ever met or spoken with any of them. But for a long time it's been obvious to me that they can read my movie-loving mind...
...perfect example of what Criterion does. Just days after its disastrous Paris 1939 premiere, Renoir cut the film from 94 to 81 minutes. The negative of his original cut was destroyed in World War II bombing raid. In 1959, a time when the film was rising steeply in critical estimation, two Frenchmen reconstructed it, with Renoir's approval, to 106 minutes. This is the version released by Criterion, but in a superb high definition digital restoration that removed thousands of scratches, stains and other defects, and with enhanced subtitles that translate more dialogue than earlier versions. Extras include interviews shot...
...greatest films. So long as there is a world that includes Vertigo, Notorious, Psycho and Marnie, those people will be wrong. All the same, Hitchcock's lustrous American debut, the film David O. Selznick tempted him across the Atlantic to do, is a pleasure no sane person refuses. And Criterion's package is particularly rich with extras. In addition to footage from the 1941 Academy Award ceremony, where Rebecca picked up Oscars for Best Picture and Cinematography, the disc's extras include three one-hour radio adaptations, among them one by Orson Welles, and footage of the screen tests...