Update: Andrei Rublev out, Rushmore in for Criterion UK's October slate
Update: 14th August 2018: Andrei Rublev has been delayed, Rushmore added in its place
Criterion have sent over news that Andrei Rublev is no longer scheduled for October and has been replaced with the Wes Anderson classic Rushmore on 29th October. Details as follows:
Rushmore (1998) - 29th October
The dazzling sophomore film from WES ANDERSON (Fantastic Mr. Fox) is equal parts coming-of-age story, French New Wave homage, and screwball comedy. Tenth grader Max Fischer (The Darjeeling Limited’s JASON SCHWARTZMAN) is Rushmore Academy’s most extracurricular student—and its least scholarly. He faces expulsion and enters into unlikely friendships with both a lovely first-grade teacher (The Ghost Writer’s OLIVIA WILLIAMS) and a melancholy self-made millionaire (Groundhog Day’s BILL MURRAY, in an award-winning performance). Set to a soundtrack of classic British Invasion tunes, Rushmore defies categorisation; it captures the pain and exuberance of adolescence with wit, emotional depth, and cinematic panache.
- New high-definition digital transfer of the director’s cut, supervised by director Wes Anderson, with DTS-HD Master Audio soundtrack
- Audio commentary by Anderson, co-writer Owen Wilson, and actor Jason Schwartzman
- The Making of “Rushmore,” an exclusive behind-the-scenes documentary by Eric Chase Anderson
- Max Fischer Players Present: Theatrical “adaptations” of Armageddon, Out of Sight, and The Truman Show, staged for the 1999 MTV Movie Awards
- Episode of The Charlie Rose Show featuring Anderson and actor Bill Murray
- Cast audition footage
- Wes Anderson’s hand-drawn storyboards, plus a film-to-storyboard comparison
- Props, posters, behind-the-scenes photos, and other graphic ephemera
- Original theatrical trailer
- Collectible poster
- PLUS: A booklet featuring an essay by film critic Dave Kehr
Criterion have announced their October releases in conjunction with Sony Pictures Home Entertainment.
A Raisin in the Sun (1961) - 1st October
LORRAINE HANSBERRY’s A Raisin in the Sun was the first play by a black woman to be on Broadway and is now an immortal part of the theatrical canon. Two years after its premiere, the production came to the screen, directed by DANIEL PETRIE. The original stars—including SIDNEY POITIER (In the Heat of the Night) and RUBY DEE (Do the Right Thing)—reprise their roles as members of an African American family living in a cramped Chicago apartment, in this deeply resonant tale of dreams deferred. Following the death of their patriarch, the Youngers await a life insurance cheque they hope will change their circumstances, but tensions arise over how best to use the money. Vividly rendering Hansberry’s intimate observations on generational conflict and housing discrimination, Petrie’s film captures the high stakes, shifting currents, and varieties of experience within black life in mid-century America.
- New 4K digital restoration, with uncompressed monaural soundtrack
- Interview from 1961 with playwright and screenwriter Lorraine Hansberry
- New interview with Imani Perry, author of Looking for Lorraine, on the real-life events on which the play is based
- Episode of Theatre Talk from 2002 featuring producer Philip Rose and actors Ruby Dee and Ossie Davis
- Excerpt from The Black Theatre Movement: From “A Raisin in the Sun” to the Present, a 1978 documentary, with a new introduction by director Woodie King Jr.
- New interview with film scholar Mia Mask, editor of Poitier Revisited
- PLUS: An essay by scholar Sarita Cannon
Andrei Rublev (1966) - RELEASE POSTPONED
Tracing the life of a renowned icon painter, the second feature by ANDREI TARKOVSKY (Stalker) vividly conjures the murky world of medieval Russia. This dreamlike and remarkably tactile film follows Andrei Rublev as he passes through a series of poetically linked scenes—snow falls inside an unfinished church, naked pagans stream through a thicket during a torchlit ritual, a boy oversees the clearing away of muddy earth for the forging of a gigantic bell— gradually emerging as a man struggling mightily to preserve his creative and religious integrity. Appearing here in the director’s preferred 185-minute cut as well as the version that was originally suppressed by Soviet authorities, the masterwork Andrei Rublev is one of Tarkovsky’s most revered films, an arresting meditation on art, faith, and endurance.
- New 2K digital restoration of the director’s preferred 185-minute cut, with uncompressed monaural soundtrack
- New 2K digital transfer of the original 205-minute version of the film, The Passion According to Andrei
- Steamroller and Violin, Tarkovsky’s 1961 student thesis film
- The Three Andreis, a 1966 documentary about the writing of the film’s script
- On the Set of “Andrei Rublev,” a 1966 documentary about the making of the film
- New interviews with actor Nikolai Burlyaev and cinematographer Vadim Yusov by filmmakers Seán Martin and Louise Milne
- New interview with film scholar Robert Bird
- Selected-scene commentary from 1998 featuring film scholar Vlada Petric
- New video essay by filmmaker Daniel Raim
- New English subtitle translation
- PLUS: An essay by critic J. Hoberman
The Uninvited (1944) - 15th October
A pair of siblings (Ministry of Fear’s RAY MILLAND and The Philadelphia Story’s RUTH HUSSEY) from London purchase a surprisingly affordable, lonely cliff-top house in Cornwall, only to discover that it actually carries a ghostly price; soon they’re caught up in a bizarre romantic triangle from beyond the grave. Rich in atmosphere, The Uninvited, directed by LEWIS ALLEN (Suddenly), was ground-breaking for the seriousness with which it treated the haunted-house genre, and it remains an elegant and eerie experience, featuring a classic score by VICTOR YOUNG (Written on the Wind). A tragic family past, a mysteriously locked room, cold chills, bumps in the night—this gothic Hollywood classic has it all.
- New 2K digital film restoration, with uncompressed monaural soundtrack
- New visual essay by filmmaker Michael Almereyda
- PLUS: A booklet featuring an essay by critic Farran Smith Nehme