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...closet at a Norwegian mental institution, a complete print of the original somehow turned up - a mess, but the real thing. This impeccably cleaned-up transfer, a miracle of restoration as well as rediscovery, allows the film to be seen as it has not been since its premiere. The disc also provides a history of the film's various versions, and an optional (that means you can turn it off) but haunting (that means you won't want to) new musical sound track...
...impeccable transfers or that they have helped to reassemble or restore a host of films by great directors. It's that they surround these films with fascinating extras. It's not unusual for a Criterion set to include radio broadcast versions of the film, interviews filmed especially for the disc, alternate versions, lucid and useful commentary tracks, sometimes more than one, and a printed edition of any published work that a film was based on. (Check out the volume of Raymond Carver stories packaged with Robert Altman's Short Cuts and Eric Rohmer's short-story versions of the films...
...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 especially for the disc with Renoir's son, with the film's set designer and with one of its stars, Mila Parely, as well as British and French TV documentaries about the director. The audio commentary written by film scholar Alexander Sesonske and read by director Peter Bogdanovich is a model...
...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 for Joan Fontaine, who won the starring role of the second Mrs. de Winter, opposite Laurence Olivier, as well as for also-rans Anne Baxter, Margaret Sullavan, Loretta Young and Olivier...
...know Bresson's work, this 1959 film about a compulsive young criminal in Paris is the best place to start. Schrader appears on this disc to provide a new introduction to the film and to Bresson's demanding but ultimately captivating approach to the medium. The audio commentary is by the film scholar James Quandt, editor of the best single volume work on Bresson in English. In the way typical of Criterion, which regularly hunts through the archives of foreign television, the disc's producers have also tracked down a 1960 French TV interview with the elusive Bresson, as well...