The Saskatoon Fantastic Film Festival’s final day was even more massive than expected. With a packed program and an extra short film (moved from the previous day due to a technical issue), there was little downtime between screenings and the Festival’s final midnight show started late and wrapped well past 2:30 a.m. Those that saw the marathon day of screenings to its bleary end enjoyed without question the SFFF’s best block of films (plus some welcome giveaways for lucky attendees).
Saskatoon is slightly warming as the week proceeds. I’m reluctant to say this is directly attributable to the Saskatoon Fantastic Film Festival but after a surprisingly strong Day 2, I see no other credible explanation for it. Including the What the Hell! – Totally Messed Up Short Films block, Day 2 offered 16 different works for consideration, injecting a heavy dose of bizarro randomness into the Festival and creating a decidedly different tone from the previous day’s atmospheric horror extravaganza.
The Criterion Collection, a continuing series of important classic and contemporary films presents The Lost One.
In Peter Lorre’s only directorial effort, German scientist Dr. Karl Rothe murders his fiancée for betraying him and disclosing his research to enemy nations. Instead of being punished, Rothe’s crime is covered up by Nazi authorities, leaving the doctor gripped by a compulsion to kill. With the end of World War II, Rothe finds work at a refugee camp under an assumed name, but his past catches up with him when a fellow scientist and former Nazi agent arrives looking for sanctuary of his own. Co-written and starring Lorre as well, The Lost One was rejected by audiences upon its release but has since become a masterpiece of post-WWII German cinema, an intensely haunting and fatalistic film that interrogates the psychological cruelty that enabled the war and the individual and collective guilt that followed.
- New 4K digital restoration, undertaken by the German Film Institute, with uncompressed monaural soundtrack on the Blu-ray
- Audio commentary by Lorre biographer Stephen D. Youngkin
- Peter Lorre – The Double Face, Harun Farocki’s 1984 documentary
- Displaced Person: Peter Lorre, Robert Fischer’s 2007 documentary
- Interview with German film historian Christoph Fuchs
- Theatrical trailer
- New English subtitle translation
- PLUS: A booklet featuring a new essay by Lorre scholar Sarah Thomas, excerpts of Lorre’s own work script, biographical character sketches, documents on the film’s rating, and Bertolt Brecht’s poem to Lorre, “To the Actor P.L. in Exile;” and a new paperback edition of Lorre’s original novel “The Lost One,” unreleased in Germany until 1996 and available in North America here for the first time
The Criterion Collection, a continuing series of important classic and contemporary films presents Phoenix Tapes.
Cut together from 40 of Alfred Hitchcock’s films, Christoph Girardet and Matthias Müller’s 6-part Phoenix Tapes is a surreal collage of the master director’s themes, motifs, gestures, and objects in a pure cinematic experience. More than a mere catalogue of Hitchcockian fetish objects and complexes, Girardet and Müller reconnect us to original experience of Hitchcock’s films by removing the familiar context of those sounds and images. In doing so, Phoenix Tapes examines the uncanny fear specific to the master of suspense and through those Oedipal traps, guilty consciences, maternal obsessions, and murderous desires, explores the dark recesses of cinema’s own collective unconscious.
- New high-definition digital restoration, approved by Christoph Girardet and Matthias Müller, with uncompressed monaural soundtrack on the Blu-ray edition
- New interviews with Girardet and Müller on selected works
- Short films by Girardet and Müller, including Manual (2002), Beacon (2002), Play (2003), Mirror (2003), Kristall (2006), Maybe Siam (2009), Contre-jour (2009), Meteor (2011) and Cut (2013)
- PLUS: A booklet featuring essays by film scholars Thomas Elsaesser, Dominique Païni, Sally Shafto, and filmmaker Guy Maddin
The Criterion Collection, a continuing series of important classic and contemporary films presents Great Freedom No. 7.
Set in a dive bar in Hamburg, Helmut Käutner’s first color film focuses on the unhappy life of the “singing seaman” Hannes Kröeger (Hans Albers), an entertainer who performs for an audience of prostitutes and sailors on leave. Hannes is obliged by his dying brother to care for his former mistress Gisa (Ilse Werner) and soon falls madly in love with the young woman. Gisa is torn between the singer and a young dockworker who courts her, leaving Hannes to struggle between pursuing her and a new life together, remaining in his cabaret, or finally returning to sea as a true sailor once again. Titled after the street where the cabaret is located in Hamburg’s red light district, Great Freedom No. 7 is emblematic of Käutner’s humane storytelling and his aesthetic resistance to the film culture of the Third Reich.
- New digital master, with uncompressed monaural soundtrack on the Blu-ray edition
- Audio commentary by German film scholar Eric Rentschler
- Terra in Agfacolor, a new video essay with German film historian R. Dixon Smith on Terra film studios and the Agfacolor film process
- Collection of downloadable songs performed by Hans Albers
- New and improved English subtitle translation
- PLUS: A booklet featuring new essays by German film scholar Rembert Hueser and Helmut Käutner historian Robert C. Reimer