Barnes and Noble's semi-annual Criterion Collection sale, where one can obtain the pricey but well-curated discs for 50% off, is over on
Showing posts with label Ralph Richardson. Show all posts
Showing posts with label Ralph Richardson. Show all posts
Friday, July 26, 2013
Four Suggestions for the Final Weekend of Barnes and Noble's Criterion Sale
by Tony Dayoub
Barnes and Noble's semi-annual Criterion Collection sale, where one can obtain the pricey but well-curated discs for 50% off, is over onMonday, July 29 August 5th [Update: the sale has been extended for an additional week. (h/t to Scott Nye)]. I've got my discs. Do you have yours? If not, may I suggest four of their most recent Blu-ray releases for your perusal. Three are upgrades from films previously available on Criterion DVD, but the first one listed here is new to the collection.
Barnes and Noble's semi-annual Criterion Collection sale, where one can obtain the pricey but well-curated discs for 50% off, is over on
Friday, October 28, 2011
Blu-ray Review: The Four Feathers (1939)
by Tony Dayoub
My first viewing of Zoltán Korda's The Four Feathers, the fourth adaptation of A. E. W. Mason's Kipling-esque novel, left me feeling a bit sour. Its depiction of the Arab and African followers of the jihadist Mahdi (affectionately nicknamed "Dervishes" and "Fuzzy-Wuzzies" by the red-coated British conquerors locked in battle with them) is a simplistic caricature at best. Produced by the director's brother, Alexander, the famous immigrant mogul who made it big in England, the movie seems to push the virtues of British imperialism the way you would expect coming from a stranger trying hard to assimilate into the political/economic establishment of the country he now calls home. A second viewing demonstrated something more subversive, however. But first, a quick summary for those unfamiliar with the film.
My first viewing of Zoltán Korda's The Four Feathers, the fourth adaptation of A. E. W. Mason's Kipling-esque novel, left me feeling a bit sour. Its depiction of the Arab and African followers of the jihadist Mahdi (affectionately nicknamed "Dervishes" and "Fuzzy-Wuzzies" by the red-coated British conquerors locked in battle with them) is a simplistic caricature at best. Produced by the director's brother, Alexander, the famous immigrant mogul who made it big in England, the movie seems to push the virtues of British imperialism the way you would expect coming from a stranger trying hard to assimilate into the political/economic establishment of the country he now calls home. A second viewing demonstrated something more subversive, however. But first, a quick summary for those unfamiliar with the film.
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