Criterion Crazy: July Releases
Written by Andreas Babiolakis
Criterion Crazy is a series where we cover the latest Criterion Collection announcements: what we like, what we’re confused by, and the like.
While many of us were waiting on a certain other film to be brought up in the July announcement made by The Criterion Collection (David Lynch’s Inland Empire, as its restoration was brought up by distributor Janus Films, and the rabbits sequence was shown by Criterion’s social media accounts), we got some other massive news instead, albeit a few days late (the fifteenth of the month is typically when we find out the latest batch of announcements; the news was held off until the eighteenth, and then delayed furthermore to today). By the preview thumbnails of certain David Lean and Martin Scorsese films we were shown, we could already guess what two of the biggest revelations would be. Despite Inland Empire being missing, this honestly is one of the most stacked announcements we’ve had in recent memory, and it felt like the perfect time to announce this new series: Criterion Crazy, where I will give quick reviews on each film announced and what I think is good or bad about the news. Without further ado, let’s unbox this announcement!
The Favourite: Raging Bull
Raging Bull is one of my all time favourite films, and so seeing it here was a massive shock to me. Maybe there’s going to be a lot more of Martin Scorsese’s canon coming out way (films like The Age of Innocence and The Irishman are already in the collection). While Raging Bull has already been celebrated by a plethora of home release options (including a recent 4K drop), I’d love to see what Criterion does with this classic, particularly because of their focus on filmic and ephemeral preservation (Scorsese himself is an expert on the subject, and I feel like Criterion will handle his opus in a great way). While not exactly essential when it comes to needing to be preserved specifically by Criterion, this is still a must-have for me.
Best Newer Release: Drive My Car
Ryusuke Hamaguchi’s Oscar winning film Drive My Car is only a few months old, and yet it is now in the collection. While the release of new films via a preservation company has kind of baffled me for a number of years (if other companies are releasing blu-ray and DVDs of these films and Criterion is focusing on preserving films, why bother?), I also love that the company is using its oeuvre as a means of respecting beloved works, considering that it is seen as a status symbol to be initiated into the collection. In that case, Drive My Car absolutely deserves to be there, as one of 2021’s finest releases and a triumph of Japanese cinema. It fits right into the annals of the collection almost seamlessly. I think it’s time I shake off this notion that Criterion is a preservation company first and foremost, because that no longer seems to be the case.
Under-Seen Choice: Devil in a Blue Dress
Carl Franklin’s neo-noir film Devil in a Blue Dress has been slowly rediscovered by cinephiles over the years, and I think this was the perfect time for Criterion to announce that it is now a part of the collection. I also have to commend Criterion on how they have stuck to their promise of incorporating more films told by Black directors and storytellers which they made in 2020, because they have done exactly that ever since (and the collection has become more representational of cinema as a whole as a result). The collection can be a great gateway to under-seen films, and I feel like Devil in a Blue Dress is going to get its new audience as a result.
It’s Time to Upgrade: The Virgin Suicides
Sofia Coppola’s cult classic has been a part of the Criterion Collection for a while now, but now it is the latest member of the 4K UHD family (Criterion only started dabbling with 4K a few months ago, starting with the massive announcement of Citizen Kane). The Virgin Suicides is hazily shot and dreamy to witness, and experiencing this film as high def as possible is going to be a real treat. I can’t help but think of how many other Criterion staples are going to get the same treatment soon?
The Biggest Head-Scratcher: Okja
While Okja is good, I feel like it is the most puzzling announcement of the bunch. I understand that it is likely the result of two major movements in Criterion’s recent history (the inclusion of Netflix originals, and a focus on the works of Bong Joon-ho), it still is the auteur’s weakest film (while still worth a watch) and a recent-enough film that doesn’t beg to be preserved. Well, if Okja is the “worst” part of a Criterion announcement, I feel like they’re doing something great. Okja is still nice to have, especially because it has its core audience (and I understand that Criterion has gone about releasing as many films by its most beloved, affiliated filmmakers as possible), so I won’t complain too much. Besides, that titular hippo-pig friend will always have a place in my heart.
An Underrated Cut by a Big Name: Summertime
On the topic of Criterion trying to get their hands on all of the films of the finest filmmakers, you’ll occasionally get some love tossed at some under discussed classics. Enter David Lean’s Summertime: the perfect bridge between his romanticized earlier works and his Technicolor epics. I just know that this film is going to absolutely pop on the screen after Criterion gets their hands on it, thanks to their wonderful digitization and remastering (let’s hope the teal issue doesn’t happen here). I’d like to think that this means that more David Lean films are on their way, especially a certain select few Best Picture winners (hint hint), but for now Summertime is a film that needs Criterion’s preservation and spotlighting far more than The Bridge on the River Kwai and Lawrence of Arabia (but please still consider these, Criterion). You can also hear our podcast The K Cut discuss Summertime here.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from X University (formerly known as Ryerson), as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.