Elliptical editing effortlessly glides us from one event to the next, with only short bursts of narration to lend context. This disc has been out of print for a long while and still manages to fetch ridiculous prices online, so much so it would probably be more economical to just pick up the new 100 Years of Olympic Films box set at a half-off sale since it includes Tokyo Olympiad. But the 4K restoration on display (first created for their gargantuan 100 Years of Olympic Films box set in 2017) is nothing short of beautiful, leaning into the flaws and fuzziness of the frenetic documentary filmmaking on display while emphasizing the moments of still natural beauty that come from gentle waters or rising suns. The Criterion Collection Tokyo Olympiad. It’s a curious approach, abstracting the Olympic Games in this way; but in doing so, it becomes less about tracking performance and more about the innate beauty of the Olympics itself. A fluttering flag. He would persuade eight prominent film   directors of the day (not including Leni Riefenstahl, whose great film Olympia, about the Berlin Olympics, had too many associations with Hitler and Nazism) to film an Olympic event of their own choosing. Contact the seller- opens in a new window or tab and request a shipping method to your location. Exalting that part of the body that symbolizes the physical nature of the Games, a camera can linger for a full minute on a sneaker settling into a starting block. Podcast logo by Josh Hollis. Remarkable consideration is paid to the feet, to track shoes (It’s almost a shock to note there are no Nike swooshes!). Impressively Cowie keeps the track going at a good beat for the film’s entire running time and it’s one a very much recommend listening to. But she ran and jumped her best.”. George Plimpton, the co-founder of the Paris Review, a literary quarterly, is the author of a number of books, Paper Lion and Shadow Box among them, many with a sports background. He loses out in the semi-final and then we see him in the mess hall, eating noodles, and the background music shifts from its Prokofiev mood to a sorrowful jazz saxophone. There is, of course, a close-up of a bare foot, blistered and raw. There is a gun salute (close-up shot of children holding their ears), then a huge number of pigeons are let loose, so many that the spectators hold purses, umbrellas, to protect themselves from the fallout. It’s a slight, but illuminating documentary, especially given the curious circumstances of the film’s production. Yes, the new restoration in the large Olympic Films box set is significantly better but the DVD still looks pretty damn good all these years later and the supplements offer so much, particularly Cowie’s commentary. Drawn equally to the psychology of losers and winners—including the legendary Ethiopian marathoner Abebe Bikila, who receives the film’s most exalted tribute—Ichikawa captures the triumph, passion, and suffering of competition with a singular humanistic vision, and in doing so effected a transformative influence on the art of documentary filmmaking. Liked it? Part of the pleasure of watching the documentary is to note how things have changed. There’s also a 31-minute documentary on how Ichikawa worked during the film’s production, complete with interviews from the film’s editor to camera operators to the director’s son. This is then followed by a really great 1992 interview with Kon Ichikawa himself, talking about the reasoning behind his choices for the film and the work that went into getting the shots and footage he did. A spectacle of magnificent proportions and remarkable intimacy, Kon Ichikawa’s Tokyo Olympiad remains one of the greatest films ever made about sports. (The water-level camera that documents the yacht racing in rough seas threatens to disappear completely underwater; I have to look away for fear of mal de mer. It’s an incredibly in-depth and rich discussion, a really wonderful read. It’s very illuminating and very detailed at a lengthy 32-minutes. This item will ship to United States, but the seller has not specified shipping options. 3. Supervising a vast team of technicians using scores of cameras, Ichikawa captured the 1964 Summer Games in Tokyo in glorious widescreen images, using cutting-edge telephoto lenses and exquisite slow motion to create lyrical, idiosyncratic poetry from the athletic drama surging all around him. At the time, in fact, the Olympic Organizing Board complained that the artistic guidelines of the film had overshadowed the recording of events, and asked that it be re-edited. Overall, looking at the listing of features it’s easy to dismiss this as a pretty light release, but the material here is really incredible and I’ve always considered it one of Criterion’s most impressive releases. 2. The music is unique for a sports event. Post was not sent - check your email addresses! As a whole this is a very entertaining and informative release, and it’s easily one of my most prized DVDs in my collection. Tokyo Olympiad (The Criterion Collection) Abebe Bikila (Actor), Jack Douglas (Actor), Kon Ichikawa (Director, Writer) & Rated: Unrated. 4.8 out of 5 stars 40 ratings. It’s probably one of my favourite commentary tracks. Blu-ray edition reviewed by Chris Galloway; June 19 2020 BUY AT: See more details, packaging, or compare . Director Kon Ichikawa, known for taking over troubled productions, was brought in to replace Akira Kurosawa for this lengthy documentary on the 1964 Summer Olympics in Tokyo, Japan, one intended to reintroduce a post-WWII Japan to the world stage as an industrious, modern nation. Claude Lelouch focused on losers, Arthur Penn on pole-vaulters, Mai Zetterling on weightlifters, and so on. He would persuade eight prominent film   directors of the day (not including Leni Riefenstahl, whose great film Olympia, about the Berlin Olympics, had too many associations with Hitler and Nazism) to film an Olympic event of their own choosing. Only on occasion did Ichikawa bother to tell the audience the statistical information that is the usual stuffing of an Olympic reportage. With his deeply political but unclassifiable debut feature, Med Hondo set out to establish a transformational presence for global African cinema and to accelerate the emergence of a new Africa. John Schlesinger picked the marathon, Milos Forman the decathlon. The new Blu-ray found in Criterion’s 100 Years of Olympic Films set offers a substantially better image, no question, but this DVD is still quite striking on its own. But Ichikawa, himself a challenging, innovative director, would also frustrate Japanese officials with what he’d create, warping what was meant to be a chronicle of nationalistic pride into an impressionistic, dreamlike ode to the universal human spirit. The big feature is Peter Cowie’s rather exhaustive audio commentary and it covers the film and the event from a number of perspectives. Often the cameras are hand-held, which is not necessarily to the film’s disadvantage: it is, after all, the way a spectator’s eye moves from one point of interest to another. At the close, very little. Classics and discoveries from around the world, thematically programmed with special features, on a streaming service brought to you by the Criterion Collection. The athletes rush pell-mell out of the portals onto the field to celebrate, a few fireworks, and the crowds begin to wave handkerchiefs in farewell. Shipping and handling. After watching the 1964 Tokyo Olympiad, one can surely say that Ichikawa is of that tradition. Kon Ichikawa picked the l00-meter dash. A parallel adage suggests that a great photographer can take a picture of a familiar street and tell you something about it you never knew before. The booklet then closes with a list of all of the winners in the competitions. Viewing Tokyo Olympiad, Ichikawa’s film of the 1964 Summer Games in Tokyo, it is apparent that even then his main idea (despite the more than 150 cameras available to him) was to present a fragmented picture of the Games, rather than a news documentary. Often the cameras are hand-held, which is not necessarily to the film’s disadvantage: it is, after all, the way a spectator’s eye moves from one point of interest to another. I’ve a number of favorite moments: Broad jumpers endure a downpour (splat! First up is a short essay on the film by George Plimpton, going over the unconventional nature of the film and some of his favourite moments. From the rising sun of its opening shot to the nighttime flames of the closing ceremonies, Ichikawa focuses less on sports journalism than he does the mindset and physical poetry of the athletes’ performance. The film’s soundtrack is presented in Dolby Digital 1.0 mono. Wolper had an interesting concept. During the marathon, the camera shifts back and forth between what’s going on at the front (invariably the solitary figure of Ethiopia’s unflappable Abebe Bikila, far in the lead) and at the back of things, usually someone slumped to the sidewalk, or in one case carted off on a stretcher to a waiting ambulance. Made at a time when the Mexican film industry was searching for its own identity, this boldly stylized melodrama anticipated an experimental cinema that was never given adequate room to develop. The legendary director demanded twice the money Japanese officials could give him, and even wanted to coordinate the opening and closing ceremonies. DVD Tokyo Olympiad Criterion collection new. Some years ago I saw Visions of Eight, David Wolper’s documentary about the 1972 Summer Games in Munich. DVD edition reviewed by Chris Galloway; January 23 2018 BUY AT: See more details, packaging, or compare . I keep reminding myself that this documentary was put together nineteen years after the war, not long after the city was obliterated in the firebombing. Slow-motion makes runners look like they’re slicing through the air, every movement a symphony of strength and stamina. The twenty-two year old runner from Chad (the subtitle tells us that his country is younger than he is) wanders about alone, a lost soul dodging traffic in downtown Tokyo, meandering by the stadium under a colorful Japanese parasol in a rainstorm.

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