Shot by Eugen Schüfftan, an Oscar-winning German cinema…, New, restored 2K digital transfer, supervised by director Jack Garfein, with uncompressed monaural soundtrack on the Blu-ray, New conversation between Garfein and critic Kim Morgan, English subtitles for the deaf and hard of hearing. By the eighties, Demme was wisely surrounding himself with faithful collaborators, most notably Fujimoto, producer Ed Saxon, and editor Craig McKay. Melanie Griffith had previously demonstrated her derring-do in Brian De Palma’s Body Double (1984) and would go on to win approval for Working Girl (1988), but as Lulu/Audrey she is at her most spontaneous and beguiling, utterly convincing in her personality switch, her little-girl voice perfectly pitched for the role. Criterion vient d’annoncer la publication de Marriage Story dans une édition Criterion aux Etats-Unis. Regardez toutes vos séries préférées sur BetaSeries, la première communauté francophone de séries TV. It’s a boy meets girl story, certainly, but one that goes much deeper with that narrative than most films do, and plays fast and loose with the classic oppositions of dramatic conflict. A straitlaced businessman meets a quirky, free-spirited woman at a downtown New York greasy spoon. Lectures, westerns, documentaires et films du monde. Something Wild (1961) is a disturbing, uncomfortable, beautifully shot film that largely goes nowhere. On this episode, Scott and Joe discuss their thoughts on the Jonathan Demme's Though he appears in the plot (as script gurus would say) like a second act crisis figure, Ray is not simply the id to Charles’s ego but occupies his own space as a focus of attraction for both Audrey and Charles. Inside is a 16 page booklet that includes information about the … Backed by the enterprising Orion Pictures, the film went into production with unusual swiftness. One of these was the final, brutal showdown between the male protagonists in Something Wild. Something Wild. Something Wild (1986) keeps the audience guessing at every turn, as carefree, comic scenes can shift suddenly into menace and violence. In Something Wild, he uses sundry versions of the Troggs’ classic “Wild Thing,” Jimmy Cliff, and the British bands Fine Young Cannibals, UB40, and New Order. David Thompson writes on film, coedited the book Scorsese on Scorsese, and directs arts documentaries, often on filmmakers, including Jean Renoir, Milos Forman, and Robert Altman. Although the scene is one of the film's more memorable moments, it doesn't work nearly as well as a still image as it does in the film itself, and as a piece of imagery, it's a bit boring. The conformist could turn out to be more daring than the rebel. And as a last-minute piece of on-set inspiration, reggae singer Sister Carol plays a waitress who performs to the camera while the film’s closing credits roll—a winning touch. Demme had of course already shown his immense sympathy for popular music by diversifying into documentaries on musicians (in Stop Making Sense, 1984, his subject was Talking Heads, whose front man, David Byrne, contributed a song to Something Wild and the soundtrack to Demme’s next narrative feature, Married to the Mob). He’s the typical clean-cut, 80s go-getter kind of guy. Logiquement, cette édition devrait sortir par la suite en Grande-Bretagne. Jack Garfein’s no-holds-barred account of sexual assault and trauma captures the volatile sensibility of the Actors Studio. But what distinguishes Demme’s film is that his hero’s journey is not just a matter of surviving all the dangers and torments that are thrown at him. She’s an edgy chick who catches on to Daniels’s pathetic … Second, I think Thompson does a fantastic job of analyzing the things that make ‘ Durant ces vacances hivernales, je me suis plongé dans LES RACINES DU CIEL de Romain Gary et j’ai découvert un livre passionnant, foisonnant, riche, prémonitoire. Like Scorsese, who in the mideighties was also facing important career decisions, after the failure of The King of Comedy (1982), Demme benefited from finding a script by a fresh talent for a smaller-scale project over which he could retain control. Lulu’s mother is a mean harpsichordist, and a potentially menacing biker carries a helmet-wearing dog. A late twentieth-century version of the opening of the mythical jar containing the evils of the world, her offer of a lift to the office turns into an excursion to New Jersey and wild sex with manacles in a seedy motel. Demme delivers these opening scenes with immense energy and comic edge, and then deftly slows the pace to suggest that Lulu’s casual indulgence in petty crime may be part of an act. Something Wild sees the tight-assed Charles Driggs (the reliable Jeff Daniels) being bewitched, bothered and bewildered (though not necessarily in that order) by the bohemian Lulu (played by a surprisingly good Melanie Griffith). He has a fond eye for the textures of Americana: the boasting billboards, the friendly signs, the even friendlier storekeepers, the name tags sported by waitresses, the gospel chapels. Notons que R Liotta y faisait une apparition notoire en bad boy. Il faut voir Something wild avec M Griffith et J Daniels qui est un film assez étonnant, à l’époque rapproché d’After hours pour son côté comédie noire avec bifurcation dramatique. August 2, 2011. Each character, however small, is invested with telling details to make his or her appearance memorable. Jeff Daniels (replacing first thought Kevin Kline) confidently strikes just the right balance as Charles, superficially smug but harboring a deeper vulnerability as well as a capacity to let go and embrace his feral side. . Learn more: http://www. Something Wild asks the eternal question “What makes us happy?” But the answer it proposes is far from easily arrived at. In this comic vision of the great beyond, Albert Brooks finds the sweet spot between the acerbic satire of his early films and the humanism of his later work. As he once explained to Time Out London, “One of [Corman’s] fundamental instructions was, make the audience like the characters or they won’t like the film . Something Wild came at a pivotal point in Demme’s career. https://www.dvdtalk.com/reviews/48146/something-wild-the-criterion-collection 'Something Wild' comes housed in the standard clear Criterion Blu-ray case with a spine number of 563. However, Citizens Band (a.k.a. While the band performing at the high school reunion may seem appropriately hometown, they are none other than the Feelies, key players in the underground rock scene of the late seventies and early eighties (recently, Olivier Assayas used their music brilliantly for the soundtrack of Carlos). RSS. Featu Cited companion pieces included David Lynch’s small-town surrealist masterpiece Blue Velvet (1986) and Martin Scorsese’s lost-in-the-big-city comedy After Hours (1985). Just when an intimacy is beginning to develop between the two of them, with Charles (and the viewer) believing that this new incarnation reveals Audrey’s true nature, a visit to her high school reunion brings him up against another culture shock—her husband, Ray Sinclair, fresh out of prison. Jonathan Demme. Something Wild arrives from Criterion with artwork created using a still from the film, when Mary Ann has a panic attack on a train. It is a device Demme would go on to use frequently in his films, most famously in the encounters between Hannibal Lecter and Clarice Starling in The Silence of the Lambs (1991). But his nonfiction work has also taken on social and political subjects, including the situation in Haiti after the fall of the Duvalier regime, the impact of Hurricane Katrina on New Orleans, and a book tour by former president Jimmy Carter. Bong Joon Ho combines gritty crime drama with absurdist comedy in his breakthrough second feature, a dark tale set during a tumultuous period in South Korean history. An uptight yuppie’s adventure with a manic pixie dream girl turns into a nightmare, in this wonderful, genre-defying comedy from Jonathan Demme. The conformist could turn out to be more daring than the rebel. But in 1986, there were viewers who found Something Wild’s darker and more brutal second half difficult to take. More than twenty years on, Something Wild remains something special indeed. For Demme, this shift in tone was integral to the film: “There was this theme of the flip side of putting on your neat suits and committing a certain kind of financial violence as a successful yuppie in a corporation, and the dark side of that is a guy like Ray, who resorts to a more fundamental kind of violence to solve his problems and to get ahead.” In London in 2004, I chaired a master class with Demme and his regular cameraman, Tak Fujimoto, in which we discussed clips they had chosen to illustrate their long collaboration. But this is no fanboy indulgence, for the justification lies in the proliferation of scenes set in cars, where the radio is always tuned to the hippest stations. Griffith adopts Brooks’s distinctive black bob as well, along with more contemporary African jewelry, giving her an irresistibly exotic appeal. “You’re a really good liar when you want to be,” she says, as yet unaware just how true this is. There are sly cameos for fellow directors John Sayles (as a cop) and John Waters (as a car salesman), and—as in almost every Demme movie—an appearance by the filmmaker’s “lucky charm,” Russ Meyer star Charles Napier (here playing a demonic chef). Handle with Care, 1977) and especially Melvin and Howard (1980) established him critically as an American Renoir, a director with a gift for putting characters on the screen who are far from conventional movie constructs and, without any sentimental overlay, making us feel warmth toward them. I applied all that very often with the Ray character . Demme has said that, on first reading the script, “I had no idea where the story was going . Though he was so violent, I’d go up to Ray Liotta and whisper, ‘Nicest guy in the world.’ Because sure enough, to that character, he is—he’s the hero!” Since Quentin Tarantino began bringing us his postmodern conflation of comedy and violence in the nineties, audiences have grown accustomed to sudden eruptions of tough stuff on-screen. When the newly minted couple visits her sweet but knowing mother in Pennsylvania, Lulu transforms herself into a girl-next-door blonde in a simple dress, and confesses that her real name is Audrey. She even obliges Charles—whom she’s transformed into the much looser “Charlie”—to phone his excuses not only to his boss but also to his perfect wife and kids. Something Wild is his best film. Something Wild (Criterion Collection) A complex exploration of the physical and emotional effects of trauma, Something Wild stars Carroll Baker (Baby Doll, The Carpetbaggers), in a layered performance, as a college student who attempts suicide after a brutal sexual assault but is stopped by a mechanic played by Ralph Meeker (Kiss Me Deadly) whose kindness, however, soon takes an unsettling turn. The freshness and energy of that project is arguably a return to form, a reminder of just how pleasurable and loose-limbed his best work of the eighties was. Criterion 563, on DVD and Blu-ray May 10th. Tellingly, the reunion in Something Wild is for the class of 1976, suggesting that in the cultural threads woven throughout the film, in its comfortable integration of characters from different backgrounds, we can find something of Demme’s own vision of what American independence should mean. With astonishing location and claustrophobic interior photography by Eugene Schüfftan, an opening-title sequence by the inimitable Saul Bass, and a rhythmic score by Aaron Copland, Jack Garfein’s film is a masterwork of independent cinema. Jeff Daniels is Charlie, a Wall Street trader, recently promoted to Vice President of his firm. Known for playing sexy noir toughs, Ralph Meeker underwent a startling transformation as the anguished, slovenly male lead in Jack Garfein’s psychological drama. He’s caught in the act by a fellow customer, wild thing Lulu Hankel, played by a mercurial, trippy Melanie Griffith. Print . His Hitchcockian thriller Last Embrace (1979) was too subtle for its hyped-up times, and Swing Shift (1984) was taken away from him and transformed from an honest depiction of working women during World War II into an unconvincing Goldie Hawn romance. 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