I met Dave at a get-together hosted by a mutual friend eight years ago. Attended by professional, semi-professional, and amateur pop culture nerds, we were invited to share lists of our favourite films and Dave’s list expressed his love of music as well as his love of cinema at its biggest and most minute.
In the years that followed, we would watch movies together when we ran into each other at a screening, we would text about programming ideas and other movie stuff, and we would share festival discoveries. I would give him rides home when he needed them, he would hook my son up with Godzilla stuff, and my wife would restrain her urge to make him a sandwich. When I discovered he was in the hospital, I sent him a message wishing him well and asking him to reach out once he recovered, hoping he would find the message once he was discharged. Sadly that won’t happen, but I’m very grateful for the time I got to spend with Dave and I wish him the best on whatever new project he’s now moved on to.
In celebration of Dave, MMC! offers this brief tribute to the man on screen and there’s no better place to start than Dave’s 2014 short film Will the Real Dave Barber Please Stand Up?, a hilarious account of Dave being awarded a Queen’s Diamond Jubilee medal.
The Criterion Collection, a continuing series of important classic and contemporary films presents A Place in the Sun.
Based on Theodore Dreiser’s landmark novel An American Tragedy, George Stevens’ A Place in the Sun is a swooningly noir-stained melodrama featuring Montgomery Clift as a handsome young man eager to win a place in respectable society. His ambitious dream seems to fall into place when he accepts a job offer from a wealthy relation and falls deeply in love with a beautiful socialite (Elizabeth Taylor), however a secret relationship with a factory girl (Shelley Winters) and her pregnancy threatens his future and inspires his murderous impulses. Called “the greatest movie ever made about America” by Charlie Chaplin, Steven’s film skillfully alternates between affluent, sun-washed romance and shadowy, fateful film noir, crafting an idealized vision of movie love against a sour portrait of the American dream and what lies beneath it.
New 4K digital master with uncompressed monaural soundtrack on the Blu-ray
Audio commentary with George Stevens Jr. and associate producer Ivan Moffat
New interview with film critic Imogen Sara Smith
George Stevens and His Place in the Sun, a 20-minute documentary on the making of the film
George Stevens: The Filmmakers Who Knew Him, archival interviews with Warren Beatty, Frank Capra, Joe Mankiewicz, Rouben Mamoulian, Antonio Vellani, Robert Wise, Alan J. Pakula, and Fred Zinnemann
The Criterion Collection, a continuing series of important classic and contemporary films presents Bandits of Orgosolo • Ten Documentary Shorts by Vittorio De Seta.
Heralded by Martin Scorsese as “an anthropologist who speaks with the voice of a poet,” Italian director Vittorio De Seta produced a string of extraordinary short documentaries in the 1950s that distill their subjects to pure cinema. Shooting in vivid color in the rural villages of Sicily, Sardinia, and Calabria, De Seta captured the rhythms and rituals of everyday life among the fishermen, miners, shepherds, and farmers who continued to live and work according to the preindustrial traditions of their ancestors. These shorts were followed by Bandits of Orgosolo, which presented with neorealist authenticity the tragic plight of a poor Sardinian shepherd unfairly accused of rustling and murder. Together, these miniature marvels and this hardscrabble feature-film debut stand as essential, ennobling records of a vanished world.
New, restored 4K digital transfers of all eleven films, overseen by the World Cinema Project in collaboration with the Cineteca di Bologna, with uncompressed monaural soundtracks on the Blu-rays:
The Age of Swordfish (1954 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) Vittorio De Seta’s rhythmic editing adds drama to this chronicle of a Sicilian spearfishing expedition.
Islands of Fire (1954 • 11 minutes • Monaural • 2.35:1 aspect ratio) This prize-winning short is a poetic portrait of life on the coast of Sicily before, during, and following a volcanic eruption.
Solfatara(1955 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) Harshness and beauty exist side by side in this look at the lives of sulfur mine workers and their families in southern Italy.
Easter in Sicily (1955 • 10 minutes • Color • Monaural • 2:35:1 aspect ratio) De Seta captures the music and pageantry of an Easter celebration in Sicily.
Sea Countrymen (1955 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) The rhythms of the sea set the tempo for this vivid account of a day in the lives of Sicilian fishermen.
Golden Parable (1955 • 10 minutes • Color • Monaural • 2.35:1 aspect ratio) Filming amid the flaxen wheat fields of Sicily, De Seta documents the everyday rituals of farmers during harvest time.
Fishing Boats (1958 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) The unpredictable nature of the sea governs the world of Sicilian fishermen as they work, rest, and seek refuge from a storm.
Orgosolo’s Shepherds (1958 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) The striking landscapes of rural Sardinia provide the backdrop to this lyrical look at the hard-earned lives of the region’s shepherds in winter.
A Day in Barbagia (1958 • 11 minutes • Color • Monaural • 2.35:1 aspect ratio) From sunrise to sunset, De Seta chronicles the lives of Sardinian women who look after both home and fields while their shepherd husbands are away tending their flocks.
The Forgotten (1959 • 21 minutes • Color • Monaural • 2.35:1 aspect ratio) De Seta travels to a remote province in southern Italy to capture a unique celebration known as the “Feast of Silver.”
Bandits of Orgosolo (1961 • 95 minutes • Black and White • Monaural • 1.37:1 aspect ratio) Returning to the Sardinian countryside, De Seta presents a ruinous portrait of a poor shepherd wrongfully associated with some bandits and forced to flee, taking his flock and his younger brother into remote, inhospitable lands.
Introduction by Il Cinema Ritrovato film festival chief Gian Luca Farinelli
New interview with director Martin Scorsese
Détour De Seta, a 2004 documentary by Salvo Cuccia
The Filmmaker is an Athlete: Conversations with Vittorio De Seta, Vincent Sorrel and Barbara Vey’s 2010 interview with De Seta
New English subtitle translations
PLUS: Essays by scholar Alexander Stille and critic J. Hoberman
The Criterion Collection, a continuing series of important classic and contemporary films presents Bait.
Martin (Edward Rowe) is a cove fisherman without a boat. His brother has repurposed their father’s vessel as a tourist tripper catering to vacationers and stag parties. Their childhood home has been sold for London money and transformed into a summer getaway, displacing Martin to public housing above the harbor. As Martin resists the erosion of local traditions and industries, the summer season brings increasing tensions between the locals and newcomers to a boiling point, leading to tragic consequences. Stunningly shot on a vintage 16mm camera using monochrome Kodak stock, Mark Jenkin’s Bait is a timely and funny, yet poignant film that gets to the heart of a community facing up to unwelcome change.
4K digital master, approved by director Mark Jenkin, with 5.1 surround DTS-HD Master Audio Soundtrack on the Blu-ray
Alternate score performed by Cornish musician Gwenno, with introduction by Jenkin and Gwenno
Audio commentary with Jenkin and critic Mark Kermode
The Criterion Collection, a continuing series of important classic and contemporary films presents Winchester ’73.
A one-of-a-kind rifle, the Winchester ’73, passes through a diverse group of desperate characters, summarizing the Western genre while also revitalizing it. In his first of eight indelible collaborations with director Anthony Mann, James Stewart is cast against type as Lin McAdam, an upright frontiersman obsessed with tracking down murderer Dutch Henry Brown (Stephen McNally) and always finding himself a step behind the iconic rifle wrongfully stolen from him. Featuring Shelley Winters as a saloon girl looking to settle down, Dan Duryea as a crazed outlaw, John McIntire as a sly gun trader, Rock Hudson as an aggrieved Indian chief, and a young Tony Curtis in an early screen role, Winchester ’73 ushered in a new era for the Western that replaced squeaky clean heroes with flawed, complex protagonists and re-made James Stewart into a mature, complicated screen presence.
New 4K digital restoration, undertaken by Universal Pictures in partnership with The Film Foundation and in consultation with filmmakers Martin Scorsese and Steven Spielberg, with uncompressed monaural soundtrack on the Blu-ray
New introduction by Scorsese
Audio commentary with actor James Stewart and film historian Paul Lindenschmidt
Lux Radio Theatre adaptation of the film from 1951, featuring actors James Stewart and Stephen McNally
PLUS: An essay by film scholar Sarah Hagelin and an except from firearm historian R.L. Wilson’s Winchester: An American Legend
The Criterion Collection, a continuing series of important classic and contemporary films presents The Savage Eye.
Los Angeles at the end of the 1950s. A recent divorceé arrives to break free of the past and journeys into the tawdry side of urban life, seeking refuge in salons and strip clubs, among poker-players and faith-healers, near boxing rings and in the drag scene. Out of the darkness, a voice speaks to her, questioning her cynicism and prodding her to find inspiration in the world around her. A hallmark of the direct cinema movement, The Savage Eye is an experimental documentary made over four years, told with poetic elegance by filmmakers Sidney Meyers, Ben Maddow, and Joseph Strick and featuring music by renowned composer Leonard Rosenman and footage shot by acclaimed photographer Helen Levitt and cinematographers Haskell Wexler and Jack Couffer.
Restored high definition digital transfer with uncompressed monaural soundtrack on the Blu-ray
New video interview with film critic Imogen Sara Smith