Masters of Cinema Catalogue 2006/7

Masters of Cinema
Series
The
#01 - SUNRISE (F. W. Murnau, 1927) #02 - THE HOLY MOUNTAIN (Arnold Fanck, 1926) - 2 x DVD #03 - MICHAEL (Carl Th. Dreyer, 1924) - 2 x DVD #04 - TARTUFFE (F. W. Murnau, 1926) #05 - PITFALL (Hiroshi Teshigahara, 1962) #06 - THE FACE OF ANOTHER (Hiroshi Teshigahara, 1966) #07 - ASPHALT (Joe May, 1929) #08 - METROPOLIS (Fritz Lang, 1927) - 2 x DVD #09 - SPIONE [Spies] (Fritz Lang, 1928) #10 - FRANCESCO GIULLARE DI DIO [Francis, Gods Jester] (Roberto Rossellini, 1950) #11 - HUMANITY AND PAPER BALLOONS (Sadao Yamanaka, 1937) #12 - THE NAKED ISLAND (Kaneto Shindo, 1960) #13 - ONIBABA (Kaneto Shindo, 1964) #14 - KURONEKO (Kaneto Shindo, 1968) #15 - SCANDAL (Akira Kurosawa, 1950) #16 - THE IDIOT (Akira Kurosawa, 1951) #17 - VENGEANCE IS MINE (Shohei Imamura, 1979) #18 - TWENTY-FOUR EYES (Keisuke Kinoshita, 1954) #19 - NIGHTMARE ALLEY (Edmund Goulding, 1947) #20 - ASSASSINATION (Masahiro Shinoda, 1964) #21 - PUNISHMENT PARK (Peter Watkins, 1971) #22 - THE PRISONER OF SHARK ISLAND (John Ford, 1936)
2007
2006/7 Catalogue
#23 - NOSFERATU: A SYMPHONY OF HORROR (F. W. Murnau, 1922) #24 - FAUST: A GERMAN FOLK TALE (F. W. Murnau, 1926)
- 2 x DVD
- 2 x DVD
2007
#25 - TABU: A STORY OF THE SOUTH SEAS (F. W. Murnau, 1931) #26 - THE SAVAGE INNOCENTS (Nicholas Ray, 1959) #27 - ABHIJAN [The Expedition] (Satyajit Ray, 1964) #28 - TONI (Jean Renoir, 1934) #29 - KWAIDAN (Masaki Kobayashi, 1965)
- 2 x DVD
OCTOBER 2006 DECEMBER 2006
#30 - THE COMPLETE SHORT FILMS 1917-1923 (Buster Keaton) - 4 x DVD #31 - F FOR FAKE (Orson Welles, 1974) #32 - FUNERAL PARADE OF ROSES [BARA NO SORETSU] (Toshio Matsumoto, 1969) #33 - SHOESHINE (Vittorio De Sica, 1946) #34 - FANTASTIC PLANET [LA PLANTE SAUVAGE] (Ren Laloux, 1973)
NARUSE BOX SET, NOVEMBER 2006
#35 - REPAST [MESHI] (Mikio Naruse, 1951) #36 - SOUND OF THE MOUNTAIN [YAMA NO OTO] (Mikio Naruse, 1954) #37 - FLOWING [NAGARERU] (Mikio Naruse, 1956) #38 - SHOAH (Claude Lanzmann, 1985)
- 4 x DVD
JANUARY 2007 JANUARY 2007 MARCH 2007 2007 JANUARY 2007 2007 2007
#39 - DIARY OF A LOST GIRL [DAS TAGEBUCH EINER VERLORENEN] (G. W. Pabst, 1929) #40 - WOMAN IN THE MOON [FRAU IM MOND] (Fritz Lang, 1929) #41 - DIE NIBELUNGEN (Fritz Lang, 1924)
- 2 x DVD
#42 - SALESMAN (Albert Maysles, David Maysles, Charlotte Zwerin, 1969) #43 - GREY GARDENS (Ellen Hovde, Albert Maysles, David Maysles, Mufe Meyer, 1975) #44 - SILENCE [CHINMOKU] (Masahiro Shinoda, 1971)
- 2 x DVD
COMING IN SPRING 2007 - KENJI MIZOGUCHI
Buster Keaton
London, England
in the abandoned rst version of THE ELECTRIC HOUSE (1921)
SUNRISE: A SONG OF TWO HUMANS

(F. W. Murnau, 1927)
MoC #1 October 2005
THE HOLY MOUNTAIN

(Arnold Fanck, 1926)
MoC #2 June 2004
MICHAEL
(Carl Th. Dreyer, 1924)

Germany 90 minutes 1.33:1 OAR
MoC #3 October 2004
TARTUFFE

Germany 64 mins (+ 37 mins) 1.33:1 OAR
MoC #4 January 2005
PITFALL
(Hiroshi TESHIGAHARA, 1962)

Japan 97 minutes 1.33:1 OAR
MoC #5 March 2005
THE FACE OF ANOTHER

MoC #6 March 2005
(Hiroshi TESHIGAHARA, 1966)

Japan 122 minutes 1.33:1 OAR Following Woman of the Dunes [Suna no onna] in 1964, Hiroshi TESHIGAHARA continued his collaboration with avant-garde novelist/playwright Kobo Abe and experimental composer Toru Takemitsu for The Face of Another [Tanin no kao]. Starring Tatsuya Nakadai (Yojimbo, Kagemusha) as a man buried alive behind eyes without a face, the lm addresses the illusive nature of identity and the agony of its absence. A man (Nakadai) facially disgured in a laboratory re persuades his doctor to fashion him a lifelike mask modeled on a complete stranger totally different from his own face. Shortly after the mask is made, he successfully seduces his own wife (Machiko Kyo) but becomes angry at her falling for a handsome stranger. Worrying about his looks, and the way the mask seems to inuence his identity, he begins to question everything. Takemitsus musical score is one of his best, contrasting sweet, sad melodies with eerie, experimental motifs. Alongside Franjus Les Yeux sans visage [Eyes Without a Face], Mamoulians Dr. Jekyll and Mr. Hyde, Whales Frankenstein, and Freunds Mad Love, Teshigahara and Abes The Face of Another stands proud as one of cinemas most haunting explorations of identity. The Masters of Cinema Series proudly presents the lm for the rst time in the West on home video.
SPECIAL FEATURES
USA 95 minutes 1.20:1 OAR pillarboxed F. W. Murnau invited to America by William Fox, the promise of complete artistic freedom, and a blank cheque made Sunrise on the cusp of two eras: it represents the silent lm at the peak of its poetic sophistication, and the sound lm in its infancy. Fox told Murnau to take his time, to make any lm he wished, and Sunrise was completed without any studio interference as though with a dying ourish in a medium which at that moment had achieved a startling richness of expression. It was the swan song of the era. Murnau captivated the Americans with his legendary invisible tracking shots, and together with double exposures, expressive lighting, and distorted sets, the viewer is immersed in the fate of these simple characters. Sunrise won three Oscars at the very rst Academy Awards ceremony honouring the 1927-1928 season. Janet Gaynor won for Best Actress; Charles Rosher and Karl Struss for Best Cinematography; and the lm itself won a special Oscar for Unique and Artistic Picture, the only time this award has ever been given. The Masters of Cinema Series is proud to present this restored edition of what Cahiers du cinma described as the single greatest masterwork in the history of the cinema.
SPECIAL FEATURES
Germany 106 minutes 1.33:1 OAR A Heroic Song from a Towering World of Heights German lmmaker and doctor Arnold Fanck (1889-1974) made this beautifully photographed Berglm, or mountain lm, in 1926. Written in three days and nights especially for Riefenstahl The Holy Mountain took over a year to lm in the Alps with an entourage of expert skiers and climbers. Ostensibly a love triangle romance between Riefenstahls young dancer and the two explorers she encounters Fanck relishes the glorious Alpine landscape by lming death-defying climbing, avalanche-dodging, and frenetic downhill ski racing. After learning the ropes from Fanck, Riefenstahls own Berglme owered at UFA during the 1930s, and Fanck became her editor. This restoration is a visual feast a fascinating look at the origins of a genre and it comes with the 3hr documentary The Wonderful, Horrible Life of Leni Riefenstahl (by Ray Mller) on disc 2.
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Danish master Carl Th. Dreyer (1889-1968) directed Michael (also known as Mikal) in 1924 for Decla-Bioscop, the artistic wing of German production powerhouse Ufa. It was Dreyers sixth feature in ve years and his second in Germany. Based on Herman Bangs 1902 novel of the same name, Dreyers lm is a fascinating n-de-sicle study of a decadent elderly artist (Benjamin Christensen) driven to despair by his relationship with his young protg and former model, Michael (Walter Slezak). With suffocatingly sumptuous production design by renowned architect Hugo Hring (his only lm work), this Kammerspiel, or intimate theatre, foreshadows Dreyers magnicent nal lm Gertrud by precisely forty years. Michael was scripted by Dreyer with Fritz Langs wife Thea von Harbou (Metropolis, M, etc). It stars the director Benjamin Christensen (Hxan); Walter Slezak (Hitchcocks Lifeboat); Nora Gregor (Renoirs The Rules of the Game); Mady Christians (Ophls Letter from an Unknown Woman); and Karl Freund (who shot Metropolis) in his only ever appearance as an actor. Freund lensed part of Michael too, but left to work on Murnaus The Last Laugh, and Rudolph Mat (The Passion of Joan of Arc) took over. Never before released on home video, this 80th anniversary DVD set is a timely opportunity to experience a lm that was once described (by Dreyer biographers J. & D. Drum) as having one of the strangest and saddest fates a lm ever suffered.
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F. W. Murnau made this lm adaptation of Molires satire for UFA early in 1925 and it was released the following year, shortly followed by Faust. By presenting the play as a lmwithin-a-lm, Murnau takes the opportunity to place the material in a contemporary setting, sandwiched inside a morality lesson about greed and hypocrisy. A devious housekeeper convinces her master to cut his worthy grandson out of his will and to leave the riches to her instead. The grandson, disguised as the projectionist of a travelling cinema show, atters his way into the home to project a lm of Tartuffe in an attempt to open his grandfathers eyes. Emil Jannings plays Tartuffe with creepy panache in a tour-de-force turn alongside Lil Dagover and Werner Krauss. Unjustly neglected for decades, perhaps because of its low-key nature compared with Murnaus more grand masterpieces, this delightful curiosity is more than a mere trie. Tartuffe afrms Murnau as a master of multifarious cinematic disciplines: from the set-based dreams of Faust and Sunrise, to the naturalist landscapes of Nosferatu, City Girl, and Tabu. In Tartuffe we nd an intimate Murnau, relying on close-ups and the performances of his actors to create magic. Tartuffe was rst released in the UK in 1928. This DVD contains the only surviving version of the lm, German intertitles, optional English subtitles, and is presented at the correct speed. Restored in 2002 by the Bundesarchiv-Filmarchiv, Berlin/Koblenz and the Friedrich-WilhelmMurnau-Stiftung of Wiesbaden, Germany.
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Teshigaharas debut feature, Pitfall [Otoshiana], was the rst of his collaborations with novelist/playwright Kobo Abe and composer Toru Takemitsu. Beautifully lmed in an abandoned, postwar coal-mining town in Western Japan, it is part social-realist critique, part unsettling ghost fable. Examining themes of alienation, workers rights, and identity, Teshigahara and Abes exotically strange lm evokes the cinema of Antonioni, Resnais, the writing of Kafka, Beckett, Carroll, and the French existentialists. A wandering miner, looking for work with his young son, is pursued by a mysterious, silent assassin in a white suit and hat. As mistrust and killings spread through the barely populated, rundown mining community, ghosts of the dead appear, unheard by the living, yet imploring them for answers. Who is the man in white and why does he sow confusion? Teshigahara coined the term documentary fantasy for this study of the powerless, impoverished worker in postwar Japan. Demonstrating a meticulous aesthetic his father was an ikebana master and founder of the Sogetsu Foundation Teshigaharas efforts with Pitfall earned him the NHK Best New Director award and the luxury of being released abroad. Over forty years later, The Masters of Cinema Series proudly presents Pitfall for the rst time in the West on home video.
SPECIAL FEATURES
Restored high-denition transfer, progressive Original English intertitles Original Movietone score (mono) and alternate Olympic Chamber Orchestra score (stereo) Full-length audio commentary by ASC cinematographer John Bailey Outtakes with either commentary or intertitles Murnaus 4 Devils: Traces of a Lost Film Janet Bergstroms 40-minute documentary about Murnaus lost lm made after Sunrise. Original theatrical trailer Original photoplay script by Carl Mayer with Murnaus handwritten annotations (150 pages in pdf format) 40-page illustrated booklet with essays by Robin Wood, Lotte H. Eisner, R. Dixon Smith, Lucy Fischer and David Pierce Optimal image quality RSDL disc (DVD9)
Extensive 2001 restoration, 2 disc set The Wonderful, Horrible Life of Leni Riefenstahl (1993) by Ray Mller, 180-min New 2002 score by Aljoscha Zimmerman (Dolby 2.0 Stereo & Dolby 5.1) Original German intertitles with English subtitles Booklet containing new essay by Doug Cummings Optimal image quality RSDL discs (DVD9)
Special 80th Anniversary Edition - 2 discs Two transfers, two scores (Pierre Oser, 1993; Neal Kurz, 2004) - R0 PAL Full length audio commentary by Dreyer scholar Casper Tybjerg Both English and German intertitled versions 26-minute illustrated Dreyer audio interview from 1965 20-page booklet containg: a reprint of Tom Milnes The World Inside (1971); reprint of Jean Renoirs Dreyers Sin tribute (1968); translation of the original Danish programme (1924); and a new essay by Nick Wrigley
Tartuffe - The Lost Film, a new 37-minute Luciano Berriata documentary 16-page booklet with a new essay by lm historian R. Dixon Smith German intertitles (and optional English subtitles) New piano score by Javier Prez de Azpeitia Gallery containing 58 rare production stills Optimal image quality RSDL disc (DVD9)
Restored high denition transfer Exclusive full-length audio commentary by Tony Rayns New English subtitle translation 16-page booklet with an essay by David Toop Original trailer Gallery containing rare production stills and artwork Optimal image quality RSDL disc (DVD9)
Restored high denition transfer Exclusive full-length audio commentary by Tony Rayns New English subtitle translation 20-page booklet with an essay by David Toop Original trailer Gallery containing rare production stills and artwork Optimal image quality RSDL disc (DVD9)
001-003
004-006
ASPHALT
(Joe May, 1929)

MoC #7 April 2005
METROPOLIS
(Fritz Lang, 1927)

MoC #8 January 2005
SPIONE [Spies]
MoC #9 April 2005
(Fritz Lang, 1928)

Germany 145 minutes 1.33:1 OAR Newly restored to its original length, Fritz Langs penultimate silent lm, Spione [Spies], is a awlessly constructed labyrinthine spy thriller. Hugely inuential, Langs famous passion for meticulous detail combines with masterful storytelling and editing skills to form a relentless story of intrigue, espionage, and blackmail. An international spy ring, headed by Haghi (Rudolf Klein-Rogge), uses technology, threats, and murder to obtain government secrets. As master spy, president of a bank, and music hall clown, Haghi leads several lives using instruments of modern technology to spearhead a mad rush for secrets secrets that assert his power over others. Setting in stone for the rst time many elements of the modern spy thriller, Spione remains remarkably fresh and captivating over 75 years since its rst release. Lang carefully reveals the elaborate methods of the spies as they move through his unknown city, no doubt creating a mirror of troubled Weimar Germany. Made by Langs own production company and, like M and Metropolis, written by Lang with his wife Thea von Harbou, Spione is the Grandaddy of decades of intrigue epics. In its rigorous austerity it remains the most modern of the bunch. (Elliott Stein, Village Voice).
SPECIAL FEATURES
FRANCESCO GIULLARE DI DIO [Francis, Gods Jester]

(Roberto Rossellini, 1950)
Italy 89 mins 1.33:1 OAR
MoC #10 May 2005
HUMANITY AND PAPER BALLOONS

(Sadao YAMANAKA, 1937)
MoC #11 July 2005
THE NAKED ISLAND

MoC #12 July 2005
(Kaneto SHINDO, 1960)

Japan 93 minutes 2.35:1 OAR (anamorphic) Filmed on the virtually deserted Setonaikai archipelago in south-west Japan, The Naked Island was made in the words of its director as a cinematic poem to try and capture the life of human beings struggling like ants against the forces of nature. Kaneto SHINDO made the lm with his own production company, Kinda Eiga Kyokai, who were facing nancial ruin at the time. Using one-tenth of the average budget, Shindo took one last impassioned risk to make this lm. With his small crew, they relocated to an inn on the island of Mihari where, for two months in early 1960, they would make what they considered to be their last lm. The Naked Island tells the story of a small family unit and their subsistence as the only inhabitants of an arid, sun-baked island. Daily chores, captured as a series of cyclical events, result in a hypnotising, moving, and beautiful lm harkening back to the silent era. With hardly any dialogue, Shindo combines the stark Scope cinematography of Kiyoshi Kuroda with the memorable score of his constant collaborator Hikaru Hayashi, to make a unique cinematic document. The BAFTA-nominated The Naked Island won the Grand Prix at Moscow International Film Festival (where Luchino Visconti was a jury member). It is now considered to be one of Shindos major works, and its success saved his lm company from bankruptcy. The Masters of Cinema Series is proud to release The Naked Island for the rst time on home video in the UK.
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Japan 82 minutes 1.33:1 OAR Widely regarded as Yamanakas greatest achievement, Humanity and Paper Balloons [Ninjo kami fusen] was, tragically, his last lm, and only one of three that survive today. In a short, six year, 22 lm career Yamanaka quickly earned a reputation for exceptionally uid editing and a beautiful visual form likened to the paintings of Japanese masters. The story develops in the Tokugawa era of the 18th century, in a poor district of Tokyo, where impoverished samurai live from hand to mouth among equally poor people of lower social classes. One such ronin (masterless samurai) Matajuro, spends his day looking for work whilst his wife, Otaki, makes cheap paper balloons at home. One rainy night, Shinza, a barber, and equally penniless, impulsively abducts the daughter of a wealthy merchant, hiding her at Matajuros home. Their desperate plan has grave consequences when a ransom attempt backres. The lm, which starts and ends with suicide, is deeply pessimistic, insisting that life in feudal Japan was hellish and short for those at the foot of the social ladder. Humanity and Paper Balloons premiered the day Yamanaka was drafted to the frontline of the Second Sino-Japanese war. He died in Manchuria, 1938, aged just 29. Boasting naturalistic performances and ne ensemble playing (from the left-wing theatre troupe Zenshin-za), The Masters of Cinema Series is proud to present this rare gem for the rst time on home video in the West.
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One of the last great German Expressionist lms of the silent era, Joe Mays Asphalt is a love story set in the trafc-strewn Berlin of the late 1920s. Starring the delectable Betty Amann in her most famous leading role, Asphalt is a luxuriously produced Ufa classic. A well-dressed lady thief (Betty Amann) steals a precious stone from a jewellery shop. The aged jeweller prefers to let the young woman go, but a policeman decides to pursue the case further. She tries to seduce the policeman (Gustav Frhlich), and he gradually succumbs to her charms, but her criminal background dooms their relationship when an argument leads to murder. Betty Amanns salacious sensuality, Mays grand direction, the spectacular sets by Erich Kettelhut, and the photography of Gnther Rittau make this largely unknown lm a major rediscovery. Until recently, Asphalt was available only in a shortened version with English-language intertitles. In 1993 the Stiftung Deutsche Kinemathek (Berlin) discovered a print of Asphalt at the Goslmofond archive in Moscow which appeared to have been struck from the original negative. The chronology of scenes in this print differs from existing versions and there are extra scenes together with the hitherto-unknown German intertitles. Joe May is best-remembered today for his two-part Das indische Grabmal [The Indian Tomb], co-scripted by the young Fritz Lang and Thea von Harbou, and was widely regarded as having discovered Lang, von Harbou and E. A. Dupont. The Masters of Cinema Series is proud to present Asphalt for the rst time on DVD anywhere in the world.
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Fritz Langs Metropolis is perhaps the most famous German lm of all time, and certainly one of the most inuential of all silent lms. In its lifetime it has been: drastically re-edited (shortly after release); unseen for decades; revisioned with a modern music score in the 1980s; and thanks to the work of the FriedrichWilhelm-Murnau-Stiftung and a network of archives all over the world, restored in 2001. This restoration of Metropolis is almost certainly the most complete and authentic version possible of Langs original 1927 vision. Metropolis takes place in 2026, where people are divided into two groups: poor workers living beneath the ground and the rich who enjoy a futuristic city of luxury. The tense balance of these two societies is realised through images that are among the most famous of the 20th century, many of which pre-empt such science ction classics as Stanley Kubricks 2001: A Space Odyssey and Ridley Scotts Blade Runner.
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Roberto Rossellini and co-writer Federico Fellini lovingly render the very spirit of Franciscan teaching in this extraordinarily fresh and simple lm which was unappreciated at the time of its release, but now regarded as one of his greatest. Shot in a neorealist manner with non-professional actors (including thirteen real Franciscan monks from the convent of Nocere Inferiore) it avoids the pious clichs of haloed movie saints with an economy of expression and a touching, human quality. Inspired by I oretti (Little Flowers), a collection of stories about St. Francis of Assisi and the Franciscan monks, Rossellinis Francesco giullare di Dio takes place in the early 13th century when violent conicts between individual cities tore Italy apart. Never properly released theatrically nor on home video in the UK, The Masters of Cinema Series proudly presents Francesco giullare di Dio in its fully restored glory. This is the original Italian version reafrming intertitles and scenes removed from the US release version The Flowers of St. Francis.
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New restored transfer Original German intertitles with optional English subtitles Sumptuous new orchestral score by KarlErnst Sasse New English subtitle translation 16-page booklet with a new essay by lm historian R. Dixon Smith
The extensive 2001 ofcial restoration presented for the rst time in the UK or USA with original German intertitles and optional subtitles in English, French, Spanish, Italian, and German on the main feature and supplements. Original 1927 orchestral score by Gottfried Huppertz, newly arranged by Berndt Heller. Full length audio commentary by lm historian Enno Patalas. In German audio with optional subtitles, and also presented in English audio. The Metropolis Case (2002) - a 44-minute documentary by Enno Patalas on the making of Metropolis. A 9-minute restoration documentary (2002) with Martin Koerber. Production stills, posters, costume designs, stills of missing scenes, and architectural sketches. 28-page booklet containing extensive restoration notes by Martin Koerber, writing by Otto Hunte, Gnther Rittau, Aenne Willkomm, Brigitte Helm, Rudolf Arnheim and a newly revised and updated essay by Jonathan Rosenbaum.
Newly restored to its original state for the rst time on home video Original German intertitles (and optional English subtitles) New score by Donald Sosin Gallery containing rare promotional material 20-page booklet with a new essay by Jonathan Rosenbaum Optimal image quality RSDL disc (DVD9)
Newly restored transfer of the Italian version A written appreciation by Martin Scorsese A video introduction by critic Maurizio Porro New English subtitle translation Original restored Italian chapter intertitles The non-Rossellini Giotto prologue added for the original US release Images from a deleted scene Restoration documentary with Enzo Verzini and restoration demonstration 32-page booklet with: a complete version history; an evaluation of the lms critical reception; a new essay on the life and history of San Francesco; Martin Scorseses specially written appreciation; a message about the lm by Roberto Rossellini; rare colour promotional photographs; and a reprinted chapter from the Fioretti di San Francesco Optimal image quality RSDL disc (DVD9)
Newly restored transfer New, improved English subtitle translation by Tony Rayns (optional) Gallery containing rare production stills and artwork 24-page booklet with excerpts from Yamanakas diaries, new essays by Tony Rayns, Shinji Aoyama, Kimitoshi Sato; and a reprint of Yamanakas will.
New restored transfer, anamorphic 2.35:1 OAR Full-length audio commentary by director Kaneto Shindo and composer Hikaru Hayashi Video introduction by Alex Cox Optional English subtitles Production stills gallery 24-page booklet with a new essay by Acquarello, and a reprint of Joan Mellens interview with Shindo from Voices from the Japanese Cinema Optimal image quality RSDL disc (DVD9)
007-009
010-012
ONIBABA

Japan 100 minutes 2.35:1 OAR anamorphic
MoC #13 August 2005
KURONEKO

MoC #14 August 2005
SCANDAL
(Akira KUROSAWA, 1950)

MoC #15 November 2005
THE IDIOT
(Akira KUROSAWA, 1951)

VENGEANCE IS MINE
MoC #17 October 2005
(Shohei IMAMURA, 1979)

Japan 140 minutes 1.85:1 OAR Based on the true story of Iwao Enokizu (Ken Ogata) and his murderous rampage which sparked a 78-day nationwide manhunt, the late Shohei IMAMURAs disturbing gem Vengeance is Mine won every major award in Japan on the year of its release. Both seducing and repelling with its unusual story and grisly humour, Imamura uncovers the seedy underbelly of civilised Japanese society. Unfolding through multiple ashbacks, Ogata delivers a career-dening performance as a day-labourer and smalltime con-artist who, after killing two of his co-workers, embarks on a psychopathic spree of rape and murder. Eluding the police and public, Japans infamous King of Criminals passes himself off as a Kyoto University professor, only to become entangled with an innkeeper and her perverted mother. Five years in the making, Vengeance is Mine transcends the limitations of run-of-the-mill criminal studies by presenting a portrait of a killer imbued with a poignant, tragic banality. Filmed in 1979, and long overdue a release of any kind in the UK, Vengeance is Mine is one of the most critically acclaimed and inuential Japanese lms of the last thirty years. The Masters of Cinema Series is proud to present Vengeance is Mine for the rst time on home video in the UK.
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TWENTY-FOUR EYES
MoC #18 February 2006
(Keisuke KINOSHITA, 1954)

Japan 144 minutes 1.33:1 OAR Keisuke KINOSHITAs Twenty-Four Eyes which beat Akira KUROSAWAs Seven Samurai as Kinema Junpos Best Film of 1954 and won the Golden Globe for Best Foreign Film in 1955 is one of Japans most beloved lms. In 1999 it was picked by Japanese critics as one of the ten best Japanese lms of all time. Both a huge commercial and critical success, this deeply affecting anti-war lm has, according to the critic Sato Tadao, wrung more tears out of Japanese audiences than any other post-war lm. Spanning a twenty-year period, Twenty-Four Eyes tells the story of a bright young teacher, Hisaki Oishi (Hideko Takamine), and the ongoing relationship she has with her rst class of twelve children, charmingly played, at various stages of their lives, by non-professional local children and young adults. At rst, although the aging schoolmaster (Chishu Ryu) recognises her talent, Hisaki is mistrusted by the remote island community, however, soon both children and adults fall under the spell of this modern, headstrong, city-girl only to see the impending war irretrievably change their lives for good. Filming started in 1951 when America was embroiled in the Korean War and Japanese militarism was again on the rise. Twenty-Four Eyes came to redene Japans national identity with its cry for pacism and its reverence for the innocence of youth. As cherished today as it was in 1954, this lm is a sublime, emotionally affecting drama skilfully and gracefully directed by Keisuke Kinoshita. The Masters of Cinema Series is proud to present Twenty-Four Eyes for the rst time on home video in the UK.
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Kaneto SHINDO, one of Japans most prolic directors, received his biggest international success with the release of Onibaba in 1964. Its depiction of violence and graphic sexuality was unprecedented at the time of release. Shindo managed through his own production company Kinda Eiga Kyokai to bypass the strict, self-regulated Japanese lm industry. Onibaba is set during a brutal period in history: a Japan ravaged by civil war between rivaling shogunates. Weary from combat, samurai are drawn towards the seven-foot high susuki grass elds to hide and rest themselves, whereupon they are ambushed and murdered by a ruthless mother (Nobuko Otowa) and daughter-in-law (Jitsuko Yoshimura) team. The women throw the samurai bodies into a pit, and barter their armour and weapons for food. When Hachi (Kei Sato), a neighbour returning from the wars, brings bad news, he threatens the womens partnership. Erotically charged and steeped in the symbolism and superstition of its Buddhist and Shinto roots, Shindos Onibaba is in part a modern parable on consumerism, a study of the destructiveness of sexual desire and lmed within a claustrophobic sea of grass one of the most striking and unique lms of the last century. The Masters of Cinema Series is proud to present this major work in all its newly restored glory for the rst time on DVD in the UK.
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Kaneto SHINDOs Kuroneko released to great acclaim in 1968 is a sparse, atmospheric horror story, ascribing to the directors philosophy of using beauty and purity to evoke emotion. Eccentric and more overtly supernatural than its breakthrough companion piece, Onibaba (1964), Kuroneko revisits similar themes to reveal a haunting meditation on duty, conformity, and love. In this magnicently eerie and romantic lm loosely based on the Japanese folktale The Cats Return a mother and daughter-in-law (Nobuko Otowa & Kiwako Taichi) are raped and murdered by pillagers, but return from the dead as vampiric cat spirits intent on revenge. As the ghosts lure soldiers into the bamboo groves, a fearless samurai, Gintoki (Kichiemon Nakamura), is sent to stop their reign of terror. Kuroneko remains a standout lm of the kaidan eiga genre of period ghost stories often based on old legends or kabuki plays. Marking Shindos rst use of wire work as Yone and Shige battle against samurai blades, the lm is subtly complimented by Kiyomi Kurodas award-winning chiaroscuro cinematography, Hikaru Hayashis vibrant score, and riveting performances from many of the greatest actors of Japans Golden Age of lm. The Masters of Cinema Series is proud to present Kuroneko on DVD for the rst time in the West.
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Akira KUROSAWAs Scandal as relevant now as when made is a pointed attack on the rising power of the press and their practices in the newly-Americanised postwar Japan of 1950. Kurosawa was outraged by the gutter press actions, where personal privacy is never respected, and by how the publics voyeuristic tendency to delve deeper into the lives of celebrities only encouraged this disrespect. Stirred to broaden his lms scope, Kurosawa made the lm a study of personal honour, one which highlights the need for ordinary individuals to speak out against injustice and corruption. On holiday in the snow-covered mountains, young painter Ichiro Aoye (Toshiro Mifune) has a chance meeting with the popular singer Miyako Saijo (Shirley Yamaguchi). After giving her a ride back to the hotel where they are both staying, Ichiro is photographed with Miyako by paparazzi. A magazine creates an expos of their secret romance based around this photograph, and the brooding Ichiro ignites a bitter and dirty libel case in order to restore their honour. Scandal stars many great Japanese actors of the time including Noriko Sengoku (Drunken Angel, Seven Samurai) and Takashi Shimura (Ikiru, Seven Samurai), who delivers one of his nest performances as the defence lawyer emotionally torn between right and wrong. Kurosawas lm stands as a fascinating one-man blast against the origins of press intrusion. The Masters of Cinema Series is proud to present Scandal for the rst time on home video in the UK.
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Akira KUROSAWAs The Idiot, his only adaptation of a Fyodor Dostoevsky novel, was a cherished project on which it is claimed he expended more effort than on any other lm. A darkly ambitious exploration of the depths of human emotion, it combines the talents of two of the greatest Japanese actors of their generation Toshiro Mifune (Seven Samurai, Yojimbo) and Setsuko Hara (Tokyo Story, Late Spring). The Idiot is perhaps the most contemplative of all Kurosawas works, a tone which is heightened by the unusual, trance-like performances. Kurosawas electrifying dramatisation uproots the novels Russian Summer setting to a memorable, snowbound Hokkaido the northern-most island of Japan, closest to Russia in climate and custom. War criminal Kameda (Masayuki Mori), reprieved from a death sentence, is fresh out of the asylum, mentally fragile, and prone to epileptic ts. In turn, his emotional involvement with two women (Setsuko Hara and Yoshiko Kuga) and his new, increasingly volatile friend Akama (Toshiro Mifune) leads further into madness and gross tragedy. Filmed between Rashomon and Ikiru, Kurosawa poured himself into faithfully capturing the essence of his favourite authors work only to see it butchered by the studio. Never released in its original 266-minute form, the original Kurosawa edit was only ever shown once before being re-edited by the studio. In spite of Kurosawas efforts to locate the original in the studios vaults forty years later, his cut is now sadly considered lost. The Masters of Cinema Series is proud to present the longest extant version: the original 166-minute release, as presented to the Japanese public in 1951.
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Newly restored high-denition transfer Full-length directors audio commentary by director Kaneto Shindo and the stars of the lm, Kei Sato, and Jitsuko Yoshimura Video introduction by Alex Cox 8mm footage (40-minutes) shot on location by lead actor Kei Sato Optional English subtitles (new translation) Original trailer Production stills and promotional art gallery 24-page booklet with a new essay by Doug Cummings, the original Buddhist fable that inspired the lm and a statement from Kaneto Shindo about why he made Onibaba Optimal image quality RSDL disc (DVD9)
Newly restored high-denition transfer Optional English subtitles (new translation) Production stills gallery using Toho promotional material 24-page booklet with a new essay by Doug Cummings, and a reprint of a vintage interview with Shindo by Joan Mellen Optimal image quality RSDL disc (DVD9)
Newly restored high-denition transfer Video introduction by Alex Cox Optional English subtitles Production stills gallery 24-page booklet with a new essay by Joan Mellen Optimal image quality RSDL disc (DVD9)
Newly restored high-denition transfer Video introduction by Alex Cox Optional English subtitles Production stills gallery 36-page booklet with a new essay by Daryl Chin, and a reprint of the section on The Idiot from KUROSAWA: Film Studies and Japanese Cinema by Mitsuhiro Yoshimoto. Optimal image quality RSDL disc (DVD9)
Newly restored high denition transfer Full-length audio commentary by noted critic and lmmaker Tony Rayns Video introduction by Alex Cox Optional English subtitles Original trailer 36-page booklet with a new essay by midnighteye.coms Jasper Sharp, new writing by Dr. Alastair Philips, reprints of original promotional brochures, and a word about the lm by Imamura himself Optimal image quality RSDL disc (DVD9)
New transfer from a new print which screened at the Berlin Film Festival in 2005 Optional English subtitles with many songs newly translated Production stills gallery 24-page booklet with a new essay by Joan Mellen Optimal image quality RSDL disc (DVD9)
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016-018
NIGHTMARE ALLEY
(Edmund Goulding, 1947)

USA 111 minutes 1.33:1 OAR Often described as the grimmest of all Hollywood lm noirs, Nightmare Alleys reputation as a cult classic reached near-mythical status due to a decades-long dispute between the lms producer (George Jessel) and Fox, which prevented it being screened anywhere or even released on home video. With the conict now resolved, Nightmare Alley can nally be rediscovered as one of the most darkly sophisticated noirs of the period. Tyrone Power, cast against type at his own insistence gives the performance of his life as handsome scumbag / carnival barker / conman Stanton Carlisle. A born mentalist, he learns a secret mind-reading method and sets off with his new carnie wife, Molly (Coleen Grey), to milk the bigtime as a spiritualist in Chicago. His greed and twisted involvement with femme fatale psychoanalyst Lilith Ritter (Helen Walker) begin to bring his world crashing down around him. Based on William Lindsay Greshams book of the same name, scripted by the formidable Jules Furthman (Shanghai Express, To Have and Have Not, The Big Sleep, Rio Bravo) and reecting the preoccupations of its drug and alcohol-abusing, orgy-frequenting director Edmund Goulding, Nightmare Alley uncovers both the dirt and romance of carnival life, and controversially for those in the business the tricks and scams of conmen and hustlers. The Masters of Cinema Series is proud to present Nightmare Alley for the rst time on home video in the UK.
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ASSASSINATION
(Masahiro SHINODA, 1964)

MoC #20 January 2006
PUNISHMENT PARK
(Peter Watkins, 1971)

UK/USA 90 minutes 1.33:1 OAR Both controversial and relentless in its depiction of suppression and brutality, Punishment Park was heavily attacked by the mainstream press and permitted only the barest of releases in 1971. However, like Haskell Wexlers Medium Cool (1969) and Robert Kramers Ice (1969), Peter Watkins lm has established itself as one of the key, yet rarely seen, radical lms of the late 1960s/early 1970s. Giving voice to the disaffected youth of America that had lived through the campus riots at Berkeley, the trial of the Chicago Seven and who were witnessing the escalation of the Vietnam War, Punishment Park was named by Rolling Stone as one of their top ten lms of 1971. Set in a detention camp in an America of the near-future, Punishment Parks pseudo-documentary style (continuing Watkins subversive innovations with Culloden and The War Game) places a British lm crew amongst a group of young students and minor dissidents who have opted to spend three days in Bear Mountain Punishment Park. The detainees, rather than accept lengthy jail sentences for their crimes, gamble their freedom on an attempt to reach an American ag on foot and without water through the searing heat of the desert. Unlike Easy Riders mythologising of American counter-culture, Punishment Parks uncompromising stance, and its uneasy parallels with Guantanamo Bay, retain a powerful and prescient message in the post-9/11 present. Rarely seen in the UK, The Masters of Cinema Series is proud to celebrate Punishment Parks 35th anniversary with its rst British release on home video.
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THE PRISONER OF SHARK ISLAND

(John Ford, 1936)
USA 92 mins 1.33:1 OAR
FAUST

MoC #24 June 2006
THE SAVAGE INNOCENTS

(Nicholas Ray, 1959)
Italy / UK / France 109 minutes 2.35:1 OAR Nicholas Rays epic 1959 lm about Eskimo life was unfairly victimised on release, censored at the UK cinema, and neglected by both TV and home video for decades. The Savage Innocents continued Rays fascination with alternative lifestyles examining the life of Eskimos and their remoteness from civilzised values. It represents Rays rst and most ambitious attempt to break free from Hollywood and forge his own route. Anthony Quinn (La Strada, Zorba the Greek) stars as Inuk, an Eskimo whose daily routine is a constant struggle to survive in one of the most hostile and hauntingly beautiful of climates. As Inuks family grows in number white trappers with new weaponry begin to encroach Inuit land. When the clash of cultures results in the accidental death of a missionary, Inuk must use all his skills to keep one step ahead of the two Mounties (Peter OToole and Carlo Giustini) determined to bring the killer to justice. With award-winning colour Scope photography by Aldo Tonti (Fellinis Nights of Cabiria, Rossellinis India), the lm is one of Rays most shocking explorations of custom and honour. Adapted by Ray, Franco Solinas (The Battle of Algiers) and Hans Ruesch (author of controversial anti-vivisection tract, Slaughter of the Innocents) from Rueschs best selling novel, Top of the World, and featuring a score by the Italian composer Angelo Francesco Lavagnino (Chimes at Midnight) the lm remains as fresh and exotic as the year in which it was released. The Masters of Cinema Series is proud to present The Savage Innocents for the rst time on home video in the UK.
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Assassination (or Ansatsu) marked Masahiro SHINODAs rst attempt at a period lm, and is widely considered to be his nest achievement. Previously gaining fame and status alongside Nagisa Oshima and Kiju Yoshida, challenging established Japanese cinema with tales of reckless youth, The Dry Lake (1960) and the seminal yakuza drama Pale Flower (1964) Shinoda graduated from Shochiku, where, like Shohei Imamura, his grounding was working as an assistant to Yasujiro Ozu. The story of Assassination begins with the events of 1853 when four black ships the foreign steamboats of Commander Matthew Perry anchored at Edo Bay, sparking civil unrest and the major political maneuvering that saw the end of the Tokugawa Shogunate. At a time when assassination had become a disturbing political tool, Shinodas lm follows Hachiro Kiyokawa (Tetsuro Tanba), an ambitious, masterless samurai whose allegiances drift dangerously between the Shogunate and the Emperor. Filmed in richly stylish black and white Scope by cinematographer Masao Kosugi, Shinodas lm explores the character of Kiyokawa as he singlehandedly attempts, against a backdrop of betrayal and abrupt violence, to prevent the outbreak of civil war. With an award-winning score by Toru Takemitsu (Pitfall, The Face of Another) and a deft, twisting narrative structure, Assassinations profound nihilism has a striking contemporary resonance which ercely displays the directors skill and individual vision. The Masters of Cinema Series is proud to present Assassination for the rst time on home video in the West.
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Based on the true-life case of the incarceration of Dr. Samuel Mudd (Oscar-winning Warner Baxter), The Prisoner of Shark Island is a stirring account of the victimization of a simple man. This fast-moving and gripping drama rarely seen and remarkably timeless follows Mudd through a calamitous series of brutal encounters. Driven by seless integrity and his honourable commitment to duty, Mudd exemplies the quintessential Ford hero who has become, unwittingly, an enemy of the people. Regarded as a personal favourite by the director, it was also the lm he was said to be most happy with. Written by Nunnally Johnson (The Grapes of Wrath, Tobacco Road), The Prisoner of Shark Island dramatises the fatal shooting of Abraham Lincoln (Frank McGlynn, Sr.) and the subsequent visit by the assassin John Wilkes Booth (Francis McDonald) to Dr. Samuel Mudds house to x his broken leg. Unaware of Booths treason, Mudd is later arrested narrowly escaping execution after a one-sided military trial and sentenced to a life of hard labour at Fort Jefferson in Dry Tortugas (an infamous prison in the Gulf of Mexico surrounded by shark-infested waters). Featuring a blistering, muscular performance by John Carradine as a sadistic prison guard, The Prisoner of Shark Island is a tautly scripted, vividly directed examination of Dr. Mudds struggle to overcome inhuman justice. Nominated for Best Picture by the American National Board of Review, The Masters of Cinema Series is proud to present the lm for the rst time on UK home video in the 70th-anniversary year of its original release.
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Murnaus last German lm features astonishing photography, magnicent art direction, and special effects which still retain the power to amaze eighty years on. Freed from the constraints of psychological narrative, Murnaus mastery of cinematic technique places Faust at the pinnacle of the silent era, its barrage of visceral and apocryphal imagery contrasting with the simplicity of its spiritual theme. In collaboration with the screenwriter Hans Kyser, Murnau fused Fausts script from German folk legend and the works of Marlowe, Gounod, and particularly in the latter half of the lm Goethe. Fausts tale is a classic one of a man who sells his soul to the devil. In an attempt to gain control of the Earth, Mephisto (Emil Jannings) wagers an angel (Werner Fuetterer) that he can corrupt the soul of the elderly professor Faust (Gosta Ekman). Fausts unintentional summoning of Mephisto triggers his own corruption. Murnau, a perfectionist, shot multiple takes of each scene with only prime takes making the nal German domestic cut. Only prints made for export outside Germany were seen until recently, and this version at one time thought to be the only version of the lm used discarded takes, errors, less impressive special effects, and human stand-ins for real animals. Using the nitrate duplicate negatives printed by UFA in 1926 (and an array of international sources) Murnaus favoured domestic German version of Faust has now been meticulously reconstructed by Luciano Berriata for Filmoteca Espaola from which this new transfer is sourced. The Masters of Cinema Series is proud to present for Fausts eightieth anniversary the original German domestic cut for the rst time on home video in the UK.
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Newly restored high denition transfer (DVD9) Woody Haut introduces Nightmare Alley - a 10-minute video introduction to the lm Woody Haut on Nightmare Alley - Woody goes into more detail (25 minutes) Full-length audio commentary by lm historians Alain Silver and James Ursini Original theatrical trailer 157-page continuity & dialogue script and the 17-page musical cue sheet (pdf) Optional English subtitles 24-page booklet with a new essay by Woody Haut, and rare production stills
Newly restored high denition transfer Video introduction by Alex Cox Optional English subtitles Shochiku production stills gallery 24-page booklet with new essays by Joan Mellen and Jonathan Lomax Optimal image quality RSDL disc (DVD9)
Newly restored high-denition transfer (shot on 16mm, Punishment Park has been remastered from a new 35mm print struck from the restored 35mm blow-up negative held in Paris) 30-minute video introduction by Peter Watkins Full-length audio commentary by Dr. Joseph A. Gomez, author of Peter Watkins (1979) Optional English subtitles for the deaf and hard of hearing 32-page booklet with essays and reprints
New high denition, progressive transfer Full-length audio commentary by Scott Eyman Video interview with critic David Ehrenstein Promotional material gallery Optional English subtitles 130-page continuity and dialogue script and the 4-page musical cue sheet (pdf) 24-page booklet with writing by Lindsay Anderson, and others Optimal image quality RSDL disc (DVD9)
Restored transfer, 2 x DVD special edition Comparison of the domestic & export versions Audio commentary by critics Bill Krohn & David Ehrenstein Tony Rayns on Faust 40-min video interview New harp score by Stan Ambrose 28-page booklet with two new essays
New high denition, progressive, anamorphic transfer Full-length audio commentary by critics David Ehrenstein and Bill Krohn Promotional material gallery Optional English subtitles for the deaf and hard of hearing 24-page booklet replete with copious original promotional materials
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022-026
ABHIJAN
(Satyajit Ray, 1962)

India 150 minutes 1.33:1 OAR
MoC #27 May 2006
TONI
(Jean Renoir, 1934)

France 81 minutes 1.33:1 OAR
MoC #28 April 2006
KWAIDAN
(Masaki KOBAYASHI, 1965)

MoC #29 May 2006
THE COMPLETE BUSTER KEATON SHORT FILMS, 19171923

USA 700 minutes 1.33:1 OAR
F FOR FAKE
(Orson Welles, 1974)

France 85 minutes 1.66:1 OAR anamorphic
MoC #31 December 2006
FUNERAL PARADE OF ROSES

(Toshio MATSUMOTO, 1969)
MoC #32 August 2006
Japan 105 minutes 1.33:1 OAR A feverish collision of avant-garde aesthetics and grindhouse shocks (not to mention a direct inuence on Stanley Kubricks A Clockwork Orange), Funeral Parade of Roses takes us on an electrifying journey into the nether-regions of the late-60s Tokyo underworld. In Toshio MATSUMOTOs controversial debut feature, seemingly nothing is taboo: neither the incorporation of visual ourishes straight from the worlds of contemporary graphic-design, painting, comic-books, and animation; nor the uninching depiction of nudity, sex, drug-use, and public-toilets. But of all the transgressions here on display, perhaps one in particular stands out the most: the lms groundbreaking and unapologetic portrayal of Japanese gay subculture. Cross-dressing club-kid Eddie (played by real-life transvestite entertainer extraordinaire Peter, famed for his role as Kyoami the Fool in Akira Kurosawas Ran) vies with a rival drag-queen (Osamu Ogasawara) for the favours of drug-dealing cabaret-manager Gonda (Yoshio Tsuchiya, himself a Kurosawa player who appeared in such lms as Seven Samurai, Throne of Blood, and High and Low). Passions escalate and blood begins to ow before all tensions are released in a jolting climax. With its mixture of purely narrative sequences and documentary footage, Matsumoto achieves a zig-zag modulation between pathos and hilarity that makes his picture utterly unique: a lmic howl in the face of social, moral, and artistic convention. The Masters of Cinema Series is proud to present Toshio Matsumotos Funeral Parade of Roses for the rst time outside of Japan on any home video format.
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Abhijan was Satyajit Rays most popular lm in Bengal: a conscious effort to communicate with a wider audience. The project was originally conceived by his friends and Ray stepped in when they panicked at the prospect of directing. Rays mastery turned a starkly conventional plot into a subtly nuanced story which topped the Bengali box ofce for months. Set on the Bihar-Bengal border, where Marwari businessmen a powerful Hindi-dialect community of entrepreneurs much disliked throughout India and Rajputs of warrior caste (from Rajasthan) have both settled. The central character of Narsingh (Soumitra Chatterjee), is a disillusioned, frequently drunken Rajput reduced in status to an ill-educated taxi driver. Proud and hot-tempered, with a passion for his 1930s Chrysler, Narsingh is offered work transporting tins of ghee for Sukhanram, a shady merchant, and nds himself drawn against his better judgement into trafcking opium. Having failed in everything honest, he has to decide whether or not he will engage in criminal activity to make money. Starring Waheeda Rehman one of the greatest stars of Bollywood cinema as Gulabi, a prostitute; Rabi Ghosh as Rama, Narsinghs right-hand man; and Ruma Guha Thakurata as Neeli, Abhijan was honoured with the National Award of India in 1962. The Masters of Cinema Series is proud to present Abhijan for the rst time on DVD in the West, restored by the Academy of Motion Picture Arts and Sciences Academy Film Archive.
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Financed by Marcel Pagnols production company, Jean Renoirs Toni is a landmark in French lmmaking. Based on a police dossier concerning a provincial crime of passion, it was lensed by Claude Renoir on location (unusually for the time) in the small town of Les Martigues where the actual events occurred. The use of directly-recorded sound, authentic patois, lack of make-up, a large ensemble cast of local citizens in supporting roles, and Renoirs steadfast desire to avoid melodrama lead to Toni often being labeled the rst neorealist lm. Renoir himself disagreed. Although Toni is acknowledged as a masterly forerunner of neo-realist preoccupations and techniques he wrote: I do not think that is quite correct. The Italian lms are magnicent dramatic productions, whereas in Toni I was at pains to avoid the dramatic. Tonis story centres on an Italian immigrant, Antonio Canova (Charles Blavette), a labourer at a local quarry who has become entangled in relationships with his landlady (Jenny Helia) and with the young, hot-blooded Spaniard, Josefa (Celia Montalvan). As Josefas life disintegrates through rape and a necessitous marriage to the brutish foreman Albert (Max Dalban), Toni is caught up in a series of marriages gone sour and the psychological fragility of those he cares for. Tonis direct style and theme (Luchino Visconti was assistant director) attained classic status with the critics and directors of the French New Wave. Renoirs vision of realism approaches a purity sometimes found in documentary, whilst retaining the literary power and emotion of Balzac, Flaubert and Zola. The Masters of Cinema Series is proud to present Toni for the rst time on DVD in the West.
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For the rst time in the West, The Masters of Cinema Series is proud to present the complete 183-minute original Japanese cut of Masaki KOBAYASHIs Kwaidan one of the most meticulously crafted supernatural fantasy lms ever made. Winner of the Special Jury Prize at Cannes, Kwaidan features four nightmarish tales adapted from Lafcadio Hearns classic Japanese ghost stories. For this lavish, scope production, Kobayashi drew extensively on his own training as a student of painting and the ne arts. Indeed, the breadth of the lms poetic expression is unmatched in all of Japanese cinema: breathtakingly photographed on handpainted sets, the lm is at once a miniature writ large, and an abstract wash of luminescent colours that seem to hail from another world. Comprising four episodes about mortals caught up in forces beyond their comprehension when the supernatural world intervenes in their lives, Kwaidan is perhaps the denitive adaptation of Hearns work. It also presents the authors most emblematic tale Hoichi, the Earless, in which a blind young monk journeys every night to an abandoned graveyard, compelled by the ghosts of a famous battle to retell their story, over and over again... Starring Tatsuya Nakadai (Yojimbo, The Face of Another, Harakiri), this complete print of Kwaidan incorporating 21 minutes of footage never before released to Western audiences also includes the uncut version of The Snow Maiden, in which a woodcutter marries a woman whose true calling is to wander enveloped in swirling snowakes, bringing death to mortals. Over forty years on, Kobayashis lm remains an unparalleled achievement.
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Containing thirty-two lms with a running time of over 700 minutes this collection documents Buster Keatons short lms between 1917-1923. Capturing Keatons rst steps in front of a camera this box set charts his early association with ex-Keystone Kop Roscoe Fatty Arbuckle through to headlining, starring in and directing his own box ofce smash hits. Using Chaplins old Hollywood studios in 1920, Keatons sophisticated technical inventiveness coupled with his haunted-yet-handsome Stone Face persona, created a succession of the most timeless, classic comedy shorts ever realised. The Masters of Cinema Series is proud to present the following lms in a four-disc box set, with audio commentary by Joseph McBride on six of the lms, and a 212-page book: The Butcher Boy (1917) The Rough House (1917) His Wedding Night (1917) Oh, Doctor! (1917) Coney Island (1917) Out West (1918) The Bell Boy (1918) Moonshine (1918) Good Night Nurse (1918) The Cook (1918) Backstage (1919) The Hayseed (1919) The Garage (1919) The High Sign (nished 1920, released 1921) One Week (1920) Convict 13 (1920) The Scarecrow (1920) Neighbors (1920) The Haunted House (1921) Hard Luck (1921) The Goat (1921) The Playhouse (1921) The Boat (1921) The Paleface (1922) Cops (1922) My Wifes Relations (1922) The Blacksmith (1922) The Frozen North (1922) Daydreams (1922) The Electric House (1922) The Balloonatic (1923) The Love Nest (1923)
Reality and artice, truths and lies, the means and the ends these are the poles traversed by Orson Welles in his landmark examination of the nature of authenticity and artistic essence: F for Fake. Described by Welles as a new kind of lm, F for Fake a.k.a. Fake!, a.k.a. About Fakes, a.k.a. ? (Question Mark) is a prism of a movie, a kaleidoscope in which ction, documentary, and the poetic essay interlock, fragment, and recombine to form one of the most entertaining and profound works in all of cinema. How to describe a lm so unlike any other ever made? In a nutshell... F for Fake opens with a couple of magic tricks, segues as though by sleight-of-hand into the story of master artforger Elmyr de Hory and his relationship with biographer Clifford Irving (a sequenceremixed by Welles with extant footage from Franois Reichenbachs documentary work-in-progress, Elmyr), then hones in on Irving when word gets out that his purported biography of reclusemogul Howard Hughes is a rst-class hoax in its own right. Here the lm erupts in all directions, as Welles contrasts the sprawl of 70s Hollywood with the halcyon Tinseltown that produced Citizen Kane; contemplates the continent that provided him with an artistic refuge some 800 years after the anonymous construction of the cathedral at Chartres; and, lastly, recounts a meeting between that most un-anonymous of artists Pablo Picasso and Welles companion Oja Kodar, which took place in her youth, and during which...... The nutshell here clamps shut; the lm itself, however, opens up onto innite space. Exhilarating, hilarious, and marvellously idiosyncratic, F for Fake comes to us from that late period of Orson Welles cinema which, although perhaps less widely known than his Hollywood years, nevertheless found one of the movies greatest masters at the top of his powers.
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New progressive transfer from the Academy of Motion Picture Arts and Sciences Academy Film Archive restoration Video interview with Professor Dilip Basu, director of the Ray FASC (20 mins) Ray FASC documentary (15 mins) New and improved optional English subtitles 36-page full colour booklet with reprints of Rays original production sketches; writing by Marie Seton, Waheeda Rehman, and Joseph Lindner
New progressive transfer Full length audio commentary by Kent Jones and Phillip Lopate Video introduction by NFT programmer Geoff Andrew New and improved optional English subtitles 28-page booklet with a reprint of Tom Milnes 1980 review and numerous archive reprints
027-029
New progressive transfer of the complete 183-minute Japanese version A selection of original trailers Promotional material gallery New and improved optional English subtitles Special 72-page illustrated book with reprints of Lafcadio Hearns original ghost stories; a survey of the life and career of Masaki Kobayashi by Linda Hoaglund; and a wideranging interview with the lmmaker the last he ever gave
Restored high denition Criterion transfer Commentary by Bill Krohn & Gary Graver Optional English subtitles A ne booklet and much more!
New transfer from the directors personal print Full length audio commentary by the director Video interview with director Toshio MATSUMOTO (23 minutes) Promotional material gallery Original Japanese trailer New and improved optional English subtitles 40-page booklet featuring essays by musician and lmmaker Jim ORourke, Jonathan M. Hall, and Roland Domenig.
030-032
SHOESHINE
(Vittorio De Sica, 1946)

Italy 90 minutes 1.33:1 OAR
MoC #33 September 2006
FANTASTIC PLANET
(Ren Laloux, 1973)
MoC #34 August 2006
REPAST [Meshi]
Japan 1.33:1 OAR
(Mikio NARUSE, 1951)

SOUND OF THE MOUNTAIN [Yama no oto]

Japan 1.33:1 OAR
FLOWING [Nagareru]
Japan 1.33:1 OAR
SHOAH
(Claude Lanzmann, 1985)

France 550 minutes 1.33:1 OAR
France/Czech 82 minutes 1.66:1 OAR (ana) Ren Lalouxs mesmerising psychedelic sci- animated feature won the Grand Prix at the 1973 Cannes Film Festival and is a landmark of European animation. Based on Stefan Wuls novel Oms en srie [Oms by the dozen], Lalouxs breathtaking vision was released in France as La Plante sauvage [The Savage Planet]; in the USA as Fantastic Planet; and immediately drew comparisons to Swifts Gullivers Travels and Planet of the Apes (both the 1968 lm and Boules 1963 novel). Today, the lm can be seen to pregure much of the work of Hayao Miyazaki at Studio Ghibli (Princess Mononoke, Spirited Away) due to its palpable political and social concerns, cultivated imagination, and memorable animation techniques. Fantastic Planet tells the story of Oms, human-like creatures, kept as domesticated pets by an alien race of blue giants called Draags. The story takes place on the Draags planet Ygam, where we follow our narrator, an Om called Terr, from infancy to adulthood. He manages to escape enslavement from a Draag learning device used to educate the savage Oms and begins to organise an Om revolt. The imagination invested in the surreal creatures, music and sound design, and eerie landscapes, is immense and unforgettable. Fantastic Planet was ve years in the making at Pragues Jiri Trnka Studios. The direction of Ren Laloux, the incredible art of Roland Topor, and Alain Goraguers brilliantly complementary score (much sampled by the hip-hop community) all combine to make Fantastic Planet a mind-searing experience. The Masters of Cinema Series is proud to release Fantastic Planet on DVD in the UK for the rst time.
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Directed by Vittorio De Sica (Bicycle Thieves, Umberto D), Shoeshine was lmed on location in postwar Rome using non-professional actors. It was inspired by the real stories of those struggling to overcome the oppressive forces of a corrupt and ineffective political system. De Sicas lm depicts the troubled lives of two young boys caught up in the chaos of a world plagued by poverty and unemployment. Giuseppe (Rinaldo Smordoni) and Pasquale (Franco Interlenghi) work on the street, where they shine the shoes of American troops. They dream of a better life, seeking solace in a horse that they ride to escape their harsh reality. When the boys are implicated in a petty crime, they are punished by the society that has robbed them of their innocence, resulting in tragic consequences. Shoeshine is widely regarded as one of the nest lms to have emerged from the Italian neorealist cinema. It was also the rst foreign lm to receive an Oscar. The high quality of this motion picture, noted the Academy, brought to eloquent life in a country scarred by war, is proof to the world that the creative spirit can triumph over adversity. On the lms 60th anniversary, The Masters of Cinema Series is proud to present Shoeshine for the rst time on DVD in the UK.
SPECIAL FEATURES
PART OF THE MIKIO NARUSE BOX SET [which also contains both SOUND OF THE MOUNTAIN (#36) and FLOWING (#37)] Like many of the most successful lms by Naruse one of the least known of Japans early masters of cinema Repast depicts the lives of common people, in this instance to capture the pungent atmosphere of fading love. Set shortly after World War II, Repast is about a struggling marriage between salaryman Hatsunosuke (Uehara Ken) and his wife Michiyo (Hara Setsuko). It focuses on the emotional crisis of the bored housewife. The tedium of her domestic life consumed by repetitive tasks such as cooking and cleaning is brought into focus by a visit from Hatsunosukes niece, Satoko (Shimazaki Yukiko). Satokos arrival, and the amount of attention Hatsunosuke devotes to her charms, leads to further unhappiness for Michiyo, who is forced to confront her future. In the hands of master director Naruse, this adaptation of an unnished novel by Hayashi Fumiko offers a fascinating exploration of married life, from the habitual routine of everyday existence to the hope for a better tomorrow that may or may not keep such relationships alive.
SPECIAL FEATURES
PART OF THE MIKIO NARUSE BOX SET [which also contains both REPAST (#35) and FLOWING (#37)] Adapted from a novel by Kawabata Yasunari, the rst Japanese author to be awarded the Nobel Prize for Literature, Sound of the Mountain is one of Naruses best-known and most respected lms, typifying his preferred genre of shomin-geki (lms about the daily lives of ordinary people). Set in the ancient seaside town of Kamakura, Kawabatas home, Sound of the Mountain depicts the increasingly close relationship between a childless young woman, Kikuko (Hara Setsuko), and her father-in-law, Shingo (Yamamura So), to whom she turns as her own marriage, to the neglectful and philandering Shuichi (Uehara Ken), disintegrates. The more Shuichi destroys his marriage, the closer Shingo and Kikuko become. A domestic drama of rare existential insight and emotional subtlety, Sound of the Mountain draws on the concerns of Naruses earlier marriage lms, including Repast (the pairing of stars Hara and Uehara is reprised), to offer a profoundly moving account of the complex relationship that develops between an older man and a younger woman.
SPECIAL FEATURES
PART OF THE MIKIO NARUSE BOX SET [which also contains both REPAST (#35) and SOUND OF THE MOUNTAIN (#36)] Directed in 1956, the year that prostitution was outlawed in Japan, Flowing explores the inner workings of a changing world, as traditional geishas faced the impending decline of their hidden way of life and the looming spectre of prostitution. It depicts the story of a widow, Rika (Tanaka Kinuyo), who is forced to work for a living and becomes a maid in a struggling Tokyo geisha house, where Tsutayakko (Yamada Isuzu), its proud mistress, tries to save the house from becoming either a restaurant or a brothel. It is through Rika, a surrogate for the viewer, that we are introduced to the various geishas, who drink and ght, worry over the lack of clients, and attempt to stave off imminent extinction. Based on a novel by Aya Koda, Naruses lm gives voice to a series of complex female characters, a remarkable feat for a male director, who has created one of the most innovative and revealing of all geisha lms.
SPECIAL FEATURES
Shoah is Claude Lanzmanns landmark documentary meditation on the Holocaust. Assembled from footage shot by the lmmaker across the 1970s and 80s, Lanzmanns lm investigates the genocide at the level of experience: the geographical layout of the camps and the ghettos; the daily routines of imprisonment; the inexorable trauma of humiliation, punishment, extermination. Shoah builds gradually across its nine-and-a-half hours into a monumental portrait of shame and of grief, locating within the present a direct line to the horrors of the past. It is one of the most powerful lms ever made. Absent from the lm is any photographic chronicle, any lm footage, taken at the time the Holocaust occurred. There is only Lanzmann and his crew, shooting in private spaces and now-dormant zones of eradication to extract testimony from a series of survivors, witnesses, and oppressors alike. Through his relentless manner of questioning (aided on occasion by hidden camera), Lanzmann is able to coax out material of unparalleled emotional truth that at one moment constitutes precious oral history, and at another, withering indictment. Shoah (the title is a common designation for the Holocaust, and a Hebrew word that can be translated as Catastrophe or Annihilation) arrived as the rst of Lanzmanns lms which analyse the death camps effects on single lives and the world at large. Taken together or apart, they represent an aesthetic achievement in line with Alain Resnaiss Night and Fog and Jean-Luc Godards Histoire(s) du cinma an admixture of inquiry, rage, and mourning expressed with impeccable dignity and intelligence. The Masters of Cinema Series is proud to present, for the rst time on DVD in the UK, Claude Lanzmanns 550-minute masterpiece in a four-disc set.
SPECIAL FEATURES
Audio discussion by Kent Jones and Phillip Lopate with accompanying images THE MIKIO NARUSE BOX SET contains a 72-page book containing: An overview of the lms of Naruse by Phillip Lopate; a biography of the directors life and career by Catherine Russell; and detailed discussions of Repast, Sound of the Mountain, and Flowing extracted from Russells forthcoming The Cinema of Naruse Mikio: Women and Japanese Modernity.
New progressive transfer from a new restoration Full length audio commentary by Bert Cardullo (author of Vittorio De Sica: Director, Actor, Screenwriter) New and improved optional English subtitles Through Childrens Eyes - De Sica and Shoeshine documentary with Manuel De Sica, Carlo Lizzani, Orio Caldiron, Italo Moscati, Franco Interlenghi Ragazzi (The boys) Parallel video interviews with Franco Interlenghi and Rinaldo Smordoni The neorealist cinema interview with Giampiero Brunetta 24-page booklet featuring the writing of Vittorio De Sica, James Agee, Pauline Kael, and Bert Cardullo
Audio discussion by Kent Jones and Phillip Lopate with accompanying images THE MIKIO NARUSE BOX SET contains a 72-page book containing: An overview of the lms of Naruse by Phillip Lopate; a biography of the directors life and career by Catherine Russell; and detailed discussions of Repast, Sound of the Mountain, and Flowing extracted from Russells forthcoming The Cinema of Naruse Mikio: Women and Japanese Modernity.
Full length audio commentary by Kent Jones and Phillip Lopate. THE MIKIO NARUSE BOX SET contains a 72-page book containing: An overview of the lms of Naruse by Phillip Lopate; a biography of the directors life and career by Catherine Russell; and detailed discussions of Repast, Sound of the Mountain, and Flowing extracted from Russells forthcoming The Cinema of Naruse Mikio: Women and Japanese Modernity.
Anamorphic 1.66:1 transfer New and improved optional English subtitles Ren Lalouxs short lm Les Escargots Ren Lalouxs short lm Comment Wang-Fo Fut Sauv 40-page booklet featuring essays about Laloux, Roland Topor, and Alain Goraguer.
TBA!
033-035
036-038
DIARY OF A LOST GIRL

Germany 1.33:1 OAR
MoC #39 early 2007
[DAS TAGEBUCH EINER VERLORENEN] (G. W. Pabst, 1929)
WOMAN IN THE MOON [Frau im Mond]

(Fritz Lang, 1929)
MoC #40 early 2007
DIE NIBELUNGEN
(Fritz Lang, 1924)
MoC #41 2007
SALESMAN
Germany 1.33:1 OAR An epic of magnicent proportions and a success sizable enough to encourage the German lm industry to bankroll both Metropolis and F. W. Murnaus Faust Fritz Langs Die Nibelungen continues to cast its shadow across the cinematic landscape more than 80 years on from its initial release. Lang divided his saga, based on the same folklore that inspired Richard Wagners cycle of operas, into two separate lms which total nearly ve hours in length. Yet he also created a work so economical in character and action, and so wondrous and terrifying in its vision, that the idea of Die Nibelungen as a silent movie is seldom likely to cross any viewers mind once the opening credits have vanished from the screen... The rst part, Siegfrieds Tod [Siegfrieds Death], begins with a legendary effects sequence: Siegfried (played by Paul Richter) slays a dragon perched in repose at the edge of a brook, then proceeds to bathe in the creatures blood acquiring, in the process, an imperviousness from physical harm. Steeled by his act, he seeks out the hand of Kriemhild (Margarete Schn), the alluring sister of the Nibelungen clans king, and ushers in a series of opportune alliances and dread betrayals that nally seal his fate. In the second part, Kriemhilds Rache [Kriemhilds Revenge], Siegfrieds widow, overcome with grief and having acquired a single-minded obsession with revenge, enters into an unholy union with Attila the Hun (Rudolf Klein-Rogge in all his glory) in order to inuence the downfall of the Nibelungen clan. The presence of doom is at last made manifest when the lm climaxes in one of the most ruthless and physically dangerous sequences ever set to lm. Fritz Langs leitmotivs corruption, bloodlust, insanity are given form in the pictures singular art design: both the towering architecture and the intricate costumework come shrouded in patterns that grow increasingly mind-bending as the lm moves further along its deathward trajectory. The Masters of Cinema Series is proud to present in a special two-disc edition a new restoration of Fritz Langs totemic achievement for the rst time on DVD in the UK.
SPECIAL FEATURES
(Albert & David Maysles, Charlotte Zwerin, 1968)

USA 91 mins 1.33:1 OAR
GREY GARDENS
(Susan Froemke, Ellen Hovde, Albert & David Maysles, Mufe Meyer, 1975)
USA 94 minutes 1.33:1 OAR
MoC #43 2007
SILENCE [Chinmoku]
Japan 1.33:1 OAR
MoC #44 2007
(Masahiro SHINODA, 1971)
Germany 1.33:1 OAR Woman in the Moon is: (a) The rst featurelength lm to portray space-exploration in a serious manner, paying close attention to the science involved in launching a vessel from the surface of the earth to the valleys of the moon. (b) A tri-polar potboiler of a picture that manages to combine espionage tale, serial melodrama, and comic-book sci- into a storyline that is by turns delirious, hushed, and deranged. (c) A movie so rife with narrative contradiction and visual ingenuity that it could only be the work of one lmmaker: Fritz Lang. In this, Langs nal silent epic, the legendary lmmaker spins a tale involving a wicked cartel of spies who co-opt an experimental mission to the moon in the hope of plundering the satellites vast (and highly theoretical) stores of gold. When the crew, helmed by Willy Fritsch and Gerda Maurus (both of whom had previously starred in Langs Spione), nally reach their impossible destination, they nd themselves stranded in a lunar labyrinth without walls where emotions run scattershot, and the new goal becomes survival. A modern Daedalus tale which uncannily foretold Germanys wartime push into rocketscience, Woman in the Moon is as much a warning-sign against human hubris as it is a hopeful depiction of mankinds potential. The Masters of Cinema Series is proud to present for the rst time in the UK the culmination of Fritz Langs silent cinema, newly restored to its near-original length.
SPECIAL FEATURES
One of the sadly unsung masterworks of the German silent cinema, Diary of a Lost Girl [Das Tagebuch einer Verlorenen] traces the journey of a young woman from the pit of despair to the moment of personal awakening. Directed with virtuoso air by the great G. W. Pabst, Diary of a Lost Girl represents the nal pairing of the lmmaker with screen icon Louise Brooks, mere months after their rst collaboration in Pandoras Box [Die Bchse der Pandora]. Brooks plays Thymiane Henning, an unprepossessing young woman seduced by an unscrupulous young man employed at her fathers pharmacy. After Thymiane gives birth to the child and subsequently rejects her familys expectations for marriage, the baby is stripped from her care, and Thymiane is relegated to reform school. When she manages to escape, and learns the fate of her child, she despondently enters a brothel where she ourishes emotionally and sexually, and life begins anew. With themes of prostitution and deliverance also at the center of Jean-Luc Godards 1962 lm Vivre sa vie, the French lmmaker paid homage to Louise Brooks aura by having his lead actress (and then-wife) Anna Karina appear on-screen sporting Brooksies trademark bob haircut and another star was born. In Diary of a Lost Girl, we rediscover this template for Anna-as-Nana, and come in contact with that enigmatic quality specic to the giants of the silent past, articulated so well by Gloria Swanson when she intoned in Billy Wilders Sunset Blvd., We didnt need dialogue we had... faces.
SPECIAL FEATURES
From the Maysles brothers (The Rolling Stones Gimme Shelter (1969), Grey Gardens (1975)), comes this landmark American documentary, Salesman - a fascinating, non-narrated account of four Boston bible hawkers as they struggle to stay aoat in the cutthroat world of door-to-door sales. Capturing the remarkable detail of a bygone era, the lm documents their carefully delivered spiel to bored housewives, widows, immigrants, and distracted blue-collar workers. The salesmen wheedle, connive, and cajole their way toward the Holy Grail, but as the pressure of the job bears down, one of the salesmen begins to crack, exposing the dark and lonely underside of the American Dream. The salesmen, each nicknamed according to their different selling style, follow up leads of family names from the church. Motivated by the head of the company who argues that the more sales they generate, the stronger the faith the salesmen sell their gold-embossed, expensive Bibles to low-wage families who cannot afford them, applying pressure simply by pointing out that they come recommended by the church. Focusing on Paul The Badger Brennan travelling with his colleagues The Gipper, The Rabbit and The Bull, from their home territory of wintry Boston to the sunshine of Opa-Locka district, Florida together they exchange the days highs and (mostly) lows in lonely motel rooms, inbetween calls home. In todays society saturated with reality TV and lame documentaries, Salesman stands tall as one of the rst non-ction lms to show the lives of ordinary people indepth, without judgement or narration. The Library of Congress honoured Salesman in 1992 as one of the 25 best American lms ever made. The Masters of Cinema Series is proud to present this classic work for the rst time in the UK.
SPECIAL FEATURES
From the lmmakers behind Salesman (1968) and The Rolling Stones Gimme Shelter (1969), the Maysles Brothers present another of their non-ction features, this time an offbeat, voyeuristic, and absorbing insight into the lives of two eccentric and reclusive women: Edith Bouvier Beale and her daughter Edie. As aunt and cousin to the more famous Jackie Onassis, Big Edie and Little Edie (as they became to be known) lived together in what had become a squalid mansion in the wealthy East Hampton area. What was once a grand summer residence had been reduced to a fortress of eas, feral cats, and lth, the gardens long gone to seed and Big Edie and Little Edie conned to just a few of the 28 rooms. For the previous twenty years they had perfected their mother/daughter act complete with song-and-dance routines. Her head mysteriously wrapped in scarves and towels, Little Edies modern dances punctuate her interpretations of life, which primarily take the form of a litany of complaints against her mother. This routine seems to be old material, lines well rehearsed through repeated use, usually with Mrs. Beale as the foil together they invent a world with their house as a stage on which lifes disappointments and pleasures are recycled into riveting performances. This cult classic which has inspired a current Broadway show, a centre page fashion spread in both Vogue and Harpers Bazaar, and a forthcoming Hollywood remake prompted the intervention of Jackie O. to save the couple from a hazardous health eviction order and any further embarrassment for the family. The Masters of Cinema Series is pround to present Grey Gardens on DVD for the rst time in the UK.
SPECIAL FEATURES
Based on the award-winning novel by Shusaku ENDO (1923-1996) widely regarded to be his masterpiece, and about to be remade by Martin Scorsese Shinodas 1971 colour feature lm adaptation explores the difculties faced by Christian missionary priests in Japan. Set in the early 17th century, Silence concerns the suppression of Christianity in Japan as seen from a fugitive Portuguese priests point of view. Critical of both foreign expansionism and of Japanese society at the time, Shinodas lm is one of his most riveting and was nominated for the Palme DOr at the Cannes Film Festival.
SPECIAL FEATURES
TBA!
ALSO COMING TO The Masters of Cinema Series IN 2007:

NOSFERATU: A SYMPHONY OF HORROR (F. W. Murnau, 1922)
+
TABU: A STORY OF THE SOUTH SEAS (F. W. Murnau, 1931)
Newly restored high denition transfer Optional English subtitles Optimal image quality RSDL disc (DVD9) A ne booklet and much more!
Newly restored high denition transfer Optional English subtitles Optimal image quality RSDL disc (DVD9) A ne booklet and much more!
+
THE BLUE ANGEL
(Josef von Sternberg, 1930)
TBA!
Maysles-approved transfer Full-length audio commentary by the lmmakers Albert Maysles and Charlotte Zwerin A ne booklet and much more TBA!
Maysles-approved transfer Full-length audio commentary by the lmmakers Albert Maysles, Ellen Hovde, Mufe Meyer, and Susan Froemke A ne booklet and much more TBA!
039-041
042-044
The
Masters of Cinema Series

proudly present, for 2007, a collection of lms by legendary Japanese master lmmaker
Kenji
MIZOGUCHI
(18981956)
Some of the lms to be released in 2007: MISS OYU [Oyu-sama] 1951 UGETSU MONOGATARI 1953 GION FESTIVAL MUSIC [Gion bayashi] 1953 SANSHO DAYU 1954 THE WOMAN OF RUMOUR [Uwasa no onna] 1954 CHIKAMATSU MONOGATARI 1954 THE EMPRESS YANG KWEI FEI [Yokihi] 1955 STREET OF SHAME [Akasen chitai] 1956
Masters of Cinema
Series
The
DIE NIBELUNGEN
(Fritz Lang, 1924)
View trailers and read essays for all the DVDs online at our website: eurekavideo.co.uk/moc
w: eurekavideo.co.uk/moc e: info@eurekavideo.co.uk
Vittorio De Sica Carl Th. Dreyer Arnold Fanck John Ford Edmund Goulding Shohei Imamura Buster Keaton Keisuke Kinoshita Masaki Kobayashi Akira Kurosawa Ren Laloux Fritz Lang Claude Lanzmann Toshio Matsumoto Joe May Albert & David Maysles Kenji Mizoguchi F. W. Murnau Mikio Naruse G. W. Pabst Nicholas Ray Satyajit Ray Jean Renoir Roberto Rossellini Kaneto Shindo Masahiro Shinoda Hiroshi Teshigahara Josef von Sternberg Peter Watkins Orson Welles Sadao Yamanaka

Masters of Cinema Catalogue 2006/7

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Masters of Cinema Catalogue 2006/7

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Masters of Cinema

OCTOBER 2006 DECEMBER 2006

NARUSE BOX SET, NOVEMBER 2006

COMING IN SPRING 2007 - KENJI MIZOGUCHI

in the abandoned rst version of THE ELECTRIC HOUSE (1921)

SUNRISE: A SONG OF TWO HUMANS

THE HOLY MOUNTAIN

(Carl Th. Dreyer, 1924)

(F. W. Murnau, 1926)

(Hiroshi TESHIGAHARA, 1962)

THE FACE OF ANOTHER

(Hiroshi TESHIGAHARA, 1966)

(Joe May, 1929)

(Fritz Lang, 1927)

(Fritz Lang, 1928)

FRANCESCO GIULLARE DI DIO [Francis, Gods Jester]

HUMANITY AND PAPER BALLOONS

THE NAKED ISLAND

(Kaneto SHINDO, 1960)

(Kaneto SHINDO, 1964)

(Kaneto SHINDO, 1968)

(Akira KUROSAWA, 1950)

(Akira KUROSAWA, 1951)

(Shohei IMAMURA, 1979)

(Keisuke KINOSHITA, 1954)

(Edmund Goulding, 1947)

(Masahiro SHINODA, 1964)

(Peter Watkins, 1971)

THE PRISONER OF SHARK ISLAND

(F. W. Murnau, 1926)

THE SAVAGE INNOCENTS

(Satyajit Ray, 1962)

(Jean Renoir, 1934)

(Masaki KOBAYASHI, 1965)

THE COMPLETE BUSTER KEATON SHORT FILMS, 19171923

(Orson Welles, 1974)

FUNERAL PARADE OF ROSES

(Vittorio De Sica, 1946)

(Mikio NARUSE, 1951)

SOUND OF THE MOUNTAIN [Yama no oto]

(Claude Lanzmann, 1985)

DIARY OF A LOST GIRL

[DAS TAGEBUCH EINER VERLORENEN] (G. W. Pabst, 1929)

WOMAN IN THE MOON [Frau im Mond]

(Albert & David Maysles, Charlotte Zwerin, 1968)

(Masahiro SHINODA, 1971)

ALSO COMING TO The Masters of Cinema Series IN 2007:

Masters of Cinema Series

(Fritz Lang, 1924)

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