Supplements appear to be the same between this new edition and the old 2-disc DVD. Again this release starts off with a 17-minute interview with director Louis Malle, recorded in 1975 for a French Canadian television program called Let’s Talk Cinema, while Malle was working on Black Moon. Though there is a general conversation about his work (including his time with Jacques Cousteau and how he now feels about the themes he tackled in those early films) it does end up spending a significant amount of time on Malle’s debut film. He suggests the film was a response to the political climate of the time, though the two mention the piastres scandal as being an influence but I admit to not seeing a direct correlation (this isn’t really expanded upon) other than maybe it was just another government abuse so I’m going to put it down to “you had to be there.”
It’s a fine enough interview though I caught myself enjoying the next few more, which come off a bit less stuffy. There are a couple featuring Jeanne Moreau, including an 11-minute one from the 1993 Cannes Film Festival, where she appears with Malle to talk about the film, covering topics from her casting to the film’s score and how it fits into the New Wave. A 2005 interview, recorded for the original Criterion DVD, features the actor talking a bit more in-depth about making the film, working with Malle, the time period and how it plays into the themes presented within the film, and how it aided her career.
Criterion also digs up a rather wonderful interview with actor Maurice Ronet, recorded for French television in 1957. The actor talks about his label in being the “romantic lead” and talks a bit about why American actors and European actors differ so much in style, attributing it (a bit at least) to the Actor’s Studio in the States and a more “assembly line” nature. It’s only 4-minutes in length but ends up being one of the more enjoyable features on here.
Criterion then provides a collection of features on the Mile Davis score, starting with footage from the recording session. This 6-minute clip was filmed for a television program and features footage of Davis and his band in a studio recording the score for the film while Malle, sitting in the booth, explains to the interviewer that the score is being improvised and then explaining why he decided to go this route.
Following that are then two sets of interviews focusing on the score and then Davis’ time in Paris. Piano player René Urtreger first talks about meeting Davis in Paris and how Davis and the band first came to meet Malle. He then continues on about a screening of the film they were given and the ideas thrown around about the score before talking about specific scenes and how a lot of elements were actually improvised on the spot.
The next features is a sort-of crash course Miles Davis featuring film and music critic Gary Giddens and trumpeter John Faddis. Between the two they cover Davis’ early career and his eventual move to Europe, something a lot of jazz musicians did at the time (Europe being a place a lot jazz musicians moved to because it was less overtly racist. The two also talk about the score, its importance, and how it appropriately evokes mood. Both are passionate about the subject and keep the feature fairly energized, making it a brisk but very rich 35-minutes.
We then yet again get a student film from Malle, Crazeologie, a reference to Charlie Parker song “Crazeology” which makes an appearance. The rather frantic 6-minute film provides, at first, the semblance of a plot (two friends show up another’s apartment looking for the one individual’s sister) but goes off the rails from there. Influenced by the “theater of the absurd” it’s indeed an odd film, though quite energetic and assured for a student film.
Two trailers are then included: an original one touting this as the next great French film, and then a 2005 rerelease trailer, which actually makes a note of Davis’s score (the original one doesn’t interestingly enough.
The booklet has been completely ported over from the old DVD edition, first featuring Terrence Rafferty’s essay on the film and its connection to the New Wave, which is then followed by a reprint of an interview with Malle, the director going over the genesis of the project with more detail about adapting it from a (apparently not all that good) novel. It then again closes with a quick note by the director’s brother Vincent Malle, recalling that period and the film's release. It has neem reprinted from a 2005 issue of FLM Magazine.
Sadly Criterion hasn’t added anything new (no commentary, no new academic features specific to the film itself) but the material carried over still holds up quite strong, and the features about Davis and the film’s score are strong on their own. 7/10