Chapters 24

NOTE: the stretching and squeezing issue is probably more common than you might think but it is something you get used to very quickly in a standard viewing presentation.

Both are listed as being taken from a "high-definition" source but the MoC is marginally smoother with less artifacts and more grain visible. The Criterion looks like it may have had some manipulation - I can't be sure - where the UK transfer is "clean". Funnily enough, I'll wager both would look 'fine' without comparison to the other standard's edition. In the final tally - I hesitate to choose one over the other and would like the opportunity to compare both of these transfers to the French disc one day - perhaps this would be more revealing. It probably more depends on what you, personally, would be willing to accept.

Audio is a wash with both being the original French mono. My ears couldn't detect any differences in the scenes that I sampled and both have optional English subtitles. For those sensitive to PAL speedup - obviously the Criterion may be the way to go although I wouldn't say the dialogue pitch was notably higher on the MoC - not that I could notice anyway.

Criterion have crammed their disc with almost 2 hours of video supplements - most duplicated in the UK package including Autour de "L'enfance nue" - a 52-minute documentary shot by Daniel Creusot and Francis Warin. It first aired on the French television program Choses vues and examines both the making of "L'enfance nue" and the plight of children in the foster care system. It has optional English subtitles as do all extras. Also duplicated is L'amour existe, director Maurice Pialat's 1960 short film and the video interview with Pialat collaborators Arlette Langmann And Patrick Grandperret (running about 6-minutes). What is unique to the Criterion is an excellent new visual essay by critic Kent Jones running over ten minutes on a backdrop of the film and bits of Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. Criterion have only given about 1/2  - an excerpt - from the 1973 French TV programme 'Champ contre-champ', interviewing Pialat (MoC have 1/2 hour to Criterion's 15-minutes). Both have their own liner notes booklets - and the Criterion has photos in their 16-page one with an essay by critic Phillip Lopate. MoC's booklet is huge and they get the nod for overall supplements.

Despite the variance in image transfer - I'd say both editions have value - but the 2-disc MoC is significantly cheaper at the writing of this review and that is probably the way to go for those less sensitive to the differences and for those who are not region-locked to region 1/NTSC. This is a fabulously impacting film experience and we certainly recommend!

***

NOTE: DVDBeaver's UK correspondent for MoC, Henry Kedger, is continuing his reviewing and we are appreciative. He has sent us some captures and comments below for Spine # 72 L'Enfance.

ON THE Masters of Cinema DVD: Firstly, thank to Masters of Cinema for their screener and Gary for allowing me to review it here at DVDBeaver. I am quite honored.

This is another two disc offering with the first disc containing Maurice Pialat's debut feature. I found it truly a revelation, like the bastard, adopted, step-child of Truffaut's The 400 Blows (Truffaut actually co-produced L'anfance nue) and Loach's KES, it's hands down the most riveting new find I've come across in years. This is in part down to an incredible central performance by the young Michel Tarrazon, and the piercing, fully-formed directorial style of Maurice Pialat.

MoC have utilised the HD restoration from the French release, in its original 1.66:1 aspect ratio, anamorphically encoded for DVD (and progressive - I saw no 'combing' anomalies) with MoC's usual care taken with the new English subtitles -- I didn't spot one error although my fluency is somewhat dated being only tested through French cinema these past many years. The image quality is quite pristine. There appears little expense spared on this lavish 2-disc set, with a short (20 minute) Pialat film from 1960 (L'AMOUR EXISTE), an interview with co-screenwriter Arlette Langmann and Pialat- collaborator Patrick Grandperret; a fascinating 2005 catch-up interview with Michel Tarrazon, four decades later; a sublime 50- minute documentary shot during the course of the film's production; original French trailer (and six other wonderful Pialat trailers); and my favourite extra, a 32 minute 1973 television interview with Pialat where we perhaps come closest to understanding Pialat's approach to his work.

The 40-page booklet, which I received as a finished lo-res pdf (with my pressed dual-layered 'checkdiscs') is a typical MoC booklet (ie. it adds to the fine range of on-disc supplements (avoiding repetition), and contains incredibly rare interviews alongside newly commissioned work, in this instance a new Kent Jones essay where he suggests that L'ENFANCE-NUE "should be counted as one of the greatest debuts in cinema, on par with CITIZEN KANE, BREATHLESS, BADLANDS, or THE 400 BLOWS." -- I would agree. It's a terrific film, and I'm incredibly grateful to MoC for continuously concentrating on this kind of important and rich work. Fully recommended!  

Henry Kedger