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The first Criterion I ever bought. I was 16 and hadn't seen it. Such a great decision.
The first Godard I ever saw. I confused it with Jules and Jim, and stayed up to watch it at 2am on Sundance Channel on a school night. It changed my life.
I first saw every Jarmusch on VHS from my local video store (which has since closed). I love the Criterion, but I miss the wavy lines and faded image.
Serendipity. Right when I started getting into Jarmusch, The Music Box in Chicago did a series of 35mm screenings of all his movies, I saw this one at Midnight, it was my first visit to that theater and one of my favorite movie-going experiences ever.
One of the best.
So. I like him.
Bergman. I tunneled into his films in High School, I channeled all my dissatisfaction with my life into his chamber dramas. There's still no director whose films mean more to me.
I saw this three times in a theater, I kept bringing my cinema obsessed friends to it. The most immediate, most "pop" Godard you'll find. So much fun if you love movies.
I first saw the theatrical version and didn't love it. Then I saw the Television version. I hadn't intended to watch the whole thing in one night, but once it started I couldn't stop it. One of the greatest works by anyone ever in any medium. I'd fight anyone who said differently.
Same thing. If this doesn't destroy you, then you're dead.
These two Godard aren't my favorites, but I find them invaluable nonetheless. They both inspire so much. They free you from the constraints of narrative film making. No two films make me want to write more than these do.
Ignore the black-face scene and you've got something unimpeachably great.
What do you want me to say? It's the best. This was one of the first dozen or so "art films" I saw when I was falling in love with the movies, and it still looms large in my mind. (I thought the tape I had was faulty or something, since the dialogue didn't match up with the mouths, even though it was in Italian. Silly me.)
This is everyone's favorite Godard, right? I think it stands apart from the rest of his work. The most focused, most intentionally artful film he ever made.
I want a knish.
17-year-old mind blown, 24-year-old mind blown. I doubt that'll change. (I was a Philosophy major, I eat this shit up.)
I agree with Woody, I can watch this any time.
I kinda bought the re-issue because of the cover art, but who cares, it's great.
VHS'd these all too. I ran through every Truffaut my library had on tape. I don't think I watched any other director for maybe three months, and at the rate I was consuming movies at the time, that's crazy. I love these films so much, even as they get less and less perfect as they go along. Stolen Kisses stands on its own though, outside of The 400 Blows, it's the best stand-alone film in the set.
"I suppose because I must..." "That's my answer too."
I don't care if the Donkey is Christ, his death is way more important.
That shot with Belmondo when the street lamps turn on.
If you don't buy into this, and let it move you, you're dead.
If you can't get into Ozu, get out.
Better than "The Wire," better than "The Sopranos," better than "Golden Girls," the best damn TV show ever made.
A film for your whole life.
Sad eyed lady of the low lands.
This. And the making of doc Sami Frey made that's on the DVD is the best one of those ever made. Everyone who wants to make movies should watch it.
My least favorite Malick is still something I needed to own.
The best movie about depression.