Can anyone comment on the quality of the subtitles on Panorama's Passing Fancy?
Panorama has had problems with translations of other Ozu titles in this series and I wanted to know how this title fared.
Does anyone with the disc care to comment?
Ozu Yasujiro on DVD
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artfilmfan
- Joined: Wed Nov 03, 2004 9:11 pm
See my July 10, 2005 post.
Here it is! I'm the happiest Ozu fan alive today. Thank you, Panorama. I hope the subtitles are at least decent.
A Hen in the Wind, out on September 8th. I feel like dancing.
Here it is! I'm the happiest Ozu fan alive today. Thank you, Panorama. I hope the subtitles are at least decent.
A Hen in the Wind, out on September 8th. I feel like dancing.
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Steven H
- Joined: Tue Nov 02, 2004 3:30 pm
- Location: NC
Record of a Tenement Gentleman has been added. Not too many extant Ozu left (nine, I think, not counting fragments), I dare them to get'em out in a month. Wonder if they'll take me up on that.
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BrightEyes23
- Joined: Tue Dec 28, 2004 9:46 am
i know this is extremely off-topic, but I will never buy dddhouse again, i purchased "passing fancy" from them and apparently i didnt put all my address info in the one line, but they shipped it anyway and i never received it. I emailed them and the guy running the site told me that normallly they'd just resend it since it was lost in the mail, but because I told them that "shipping something that you knowingly isnt a complete address and wont get to the buyer is poor business" i was being rude and I was no S.O.L. 
hopefully yesasia will have this up very soon.
hopefully yesasia will have this up very soon.
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Jeff LeVine
- Joined: Wed Dec 01, 2004 1:27 am
- Location: Los Angeles
- Contact:
Finally a "new" one from Panorama - the incomplete (only surviving print apparently lacks the first and last reels), A Mother Should Be Loved.
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Steven H
- Joined: Tue Nov 02, 2004 3:30 pm
- Location: NC
It appears Ozu's delightful Days of Youth is now available from Panorama. This is one of the least "typical" Ozu films, and it's also proably the earliest made Japanese film available on DVD now (and definitely the earliest Ozu.) Only a handful of 30s Ozu left to go.
Fantastic news! I've been waiting a while to see this one with english subtitles, voting it #12 in my 30s list even with only a modicum of dialogue understood. I hope it looks as good as the rest of Panorama's early Ozu films (barely compressed versions of the gorgeous Shochiku discs, that is.) Hopefully Woman of Tokyo will be along soon, because it, Dragnet Girl, and the already released Passing Fancy make up one of Ozu's best years for film (1933).yoshimori wrote:Dragnet Girl now available.
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
And 1933 was, coincidentally, one of Naruse's best years as well -- with "Apart from You" and "Nightly Dreams". If only Panorama would issue these too (I assume they have the right to issue these -- as they have access to most of Shochiku's back catalog).Steven H wrote:Hopefully Woman of Tokyo will be along soon, because it, Dragnet Girl, and the already released Passing Fancy make up one of Ozu's best years for film (1933).
"Dragnet Girl" is wonderful, but I think I like "Walk Cheerfully" just a little bit more. ( wouldn't want to do without either).
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zedz
- Joined: Sun Nov 07, 2004 7:24 pm
Further to the ongoing, erratic review of the Panorama discs:
Days of Youth
This is a superb, eye-opening film. The earliest surviving Ozu, it demonstrates complete mastery of (and intimate familiarity with) western film grammar, thus indicating that the idiosyncracies of his mature style were hard-won, conscious decisions, not developments in a vacuum. Tellingly, one of the film's most prominent props is a poster of Borzage's 7th Heaven.
It's a college comedy, and deals quite extensively in physical comedy - far more so than in any other Ozu comedy I've seen. An early sequence in which Yamamoto in embroiled in an elaborate wet paint joke owes so much to the great silent clowns that I wonder if his round glasses were a conscious nod to Harold Lloyd.
As with many early Ozus, the camera is much freer than in the later films. In this case the entire film is bracketed with ambitious aerial pans of the entire neighbourhood. Elsewhere, he uses lateral tracking shots (following a tram or a mass of walking students), forward and backward tracking shots (headlong along a train track; slowly backwards from a phonograph) and pans and tilts to reveal information (the teacher catching a cheating student; a kettle on a stove; in one case he makes a transition from one scene to another by tilting up a flag pole in one shot and tracking down another pole in the next).
Ozu's spatial editing is also much more 'western' and conventional than in his later films, and generally much faster paced. This allows for some unexpected effects. Ozu would become one of cinema's greatest masters of transitions, linking one discrete space to the next through a chain of images (or, with the brilliant use of the baseball game in An Autumn Afternoon, through images, sounds and ideas), but I can't think of any other examples off the top of my head of him cutting between simultaneous action in non-contiguous spaces, as when we follow a conversation in an upstairs room and the action in the street below, or when we shift between Yamamoto and his girl and the man discovering the dropped glove in the street.
The film also suggests familiarity with Impressionist films (and we certainly have evidence - see below - that Ozu was as au fait with contemporary French film as he was with Hollywood) in its use of subjective camera (some great skiing accidents observed from Yamamoto's discombobulated point of view), montage effects (the elegantly minimal insertion of brief shots of speeding wheels and wires before Yamamoto's skis fall over in the tram; a dissolve from the beginning of the unloading of a cart to the end of the process) and metonymic inserts.
Ozu's use of inserts in the film is particularly eloquent and significant. The film includes none of his typical transitional "pillow shots", but it does include shots of chimneys and windmills that look exactly the same in terms of their composition. The difference here is that they are motivated point-of-view shots: Yamamoto and his friend view these sights when they look out of their window, and the direction of the wind revealed in them is a significant plot point. Other sequences rely heavily on close-ups of objects for their meaning, as when Yamamoto undresses and our attention is directed not to the overall activity, but to the discrete items of clothing he discards.
The use of inserts reaches its climax in the superb scene at the pawnshop, which is told entirely in metonymic close-ups: a phonograph record, an abacus, books, a bowl with money in it. All we see of the participants in the transaction are their hands. Smart, daring filmmaking, and one of many indications in this film that Ozu could have evolved into a completely different, but equally masterful, filmmaker.
Now, I have one BIG question about the film which I hope somebody can solve. When Yamamoto goes to Taguchi, he spends most of his time wearing a shirt with the words "SMACK FRONT ONLY" (in English) emblazoned in large block capitals on the back. What does this mean? Is this an elaborate "KICK ME" joke that only Anglophones were expected to get? And where do I get one of those shirts?
The Disc:
Panorama offer a decent transfer of a badly damaged print. I assume this is as good as it gets: we're lucky that even a single print of this film survives, let alone a complete one. It's so damaged that it's probably beyond restoration, but it's perfectly watchable, and the quality of the film shines through. Strictly silent, despite the comical Dolby intro.
A Mother Should Be Loved
A fine film, in Ozu's more seriously melodramatic mode. This film is famously incomplete, missing its opening and closing reels, which are half-heartedly filled in with intertitles in this presentation. I'm not sure there isn't also a reel missing from the middle of the film as well, as there's something of a jump when we get to the scene with the older son's fellow students.
By this time, as you'd expect, Ozu is settling into his mature style, but we've still got those Western film posters on the walls: Milestone's Rain, Duvivier's Poil de carotte, Pabst's Don Quichotte and a fourth film I can't quite make out near the end.
The Disc:
No real issues. Again, a decent transfer of an aged, incomplete print. No soundtrack. For both these discs, Panorama's English subtitles seemed good, with only a few typos of note. They've certainly come a long way in this area.
Dragnet Girl
Wow! This is one of those early Ozus that seem like the freshly discovered work of some unknown genius. Knowing his other films, it's easy to spot stylistic continuities (characteristic camera placement, 'pillow shots' - but here they tend to be tracking shots or inserts), but if you encountered this film in isolation you could plausibly pinpoint the directorial hallmarks of 'Yasujiro Ozu' as: beautifully orchestrated tracking shots (they're everywhere); fast and loose play with American pulp conventions; stylised choreography of mass movement.
The camera movement in this film is extraordinarily sophisticated. The movie constantly shows off a full range of tracking shots. The most Ozu-esque is the Narusean accompaniment of walking protagonists, but there are also repeated extended tracks along rows of things (hats on hooks, with one falling off on cue), people (a sleek, shoulder-high exploration of the typing pool, coming to rest on one tellingly unattended typewriter), or combinations of the two (a thrilling ankle-high rush past a swinging jazz band and onto the dance floor - twice!), dramatic tracks in (to a window through which a fleeing couple has just passed, for example), and a beautifully gratuitous swivel around a foreground teapot to reveal the door of Joji's flat. The tracking vocabulary is not just empty virtuosity, but deeply integrated into Ozu's storytelling technique: almost every flashy shot is repeated at some point in the film, creating a densely rhymed structure for the film. That teapot swivel, for example, happens twice, opening a scene and resting on the door just as Joji enters. The characteristic movement also occurs a third time, but in that case there's no teapot, and other things have changed as well. . .
Along with at least a couple of other early films, Dragmet Girl doesn't just demonstrate that Ozu was comfortable and confident in using a moving camera, but conclusively establishes that he was - if only briefly - one of cinema's masters of camera movement.
The film is full of other visual flourishes as well: dark figures and their shadows moving mechanistically across city intersections, seen from a God's-eye view; a whole subtext of Bressonian feet shots (one crucial close encounter between two major characters is seen only from the knees down); and - my favourite - a car racing through the streets seen from directly behind the headlamp (so rather than see the environment racing towards us, we see a wildly distorted view of the receding road). Plus there's a cellarful of moody pre-noir lighting (yep, even those venetian blinds put in an appearance).
For a 1933 film, it's amazing how closely this film anticipates noir. It almost seems to be an expert pastiche, amalgamating virtually all of the iconic settings of the genre (boxing gym, night club, pool hall, ratty apartment) and plenty of other noir tropes (gangsters, good girls vs bad girls, the kid fallen in with the wrong crowd, the couple on the run, the heist). And yet the film never lapses into the generic. For much of the film, for example, we don't know which couple stands at the centre of the film and which slightly to the side.
Anybody who continues to repeat the old saw of Ozu being the "most Japanese" of Japanese directors has clearly not seen this film. This is Ozu at his most unapologetically Americanized. The film's content is a joyous hodge-podge of filmic Americanisms and Ozu uses English language as a key element of the art direction. Virtually every scene of the film incorporates very prominent English text into its decor: American boxing posters; an RCA Victor store in which every lovingly-composed shot includes a different, prominent Nipper; a pool hall with ten-foot high house rules in English dominating the background of every shot. And if you're keeping track of Yasujiro's Poster Collection, you now need to add King Vidor's The Champ and a French poster for All Quiet on the Western Front.
The Disc
Another solid effort from Panorama in terms of the transfer and subtitles (only a handful of infelicities, such as the repeated use of an unidiomatic "knock you down"). The issues with the disc may well stem from the source print and Shochiku transfer.
First, the sides of the image are slightly blurry. It's like a 'focus bleed' on the extreme left and right of the frame. This may well reflect the status of the surviving materials. Otherwise, the print looks to be in pretty good shape.
A little more troubling is a slight speed-up of the film. It looks as if this film was mastered at 24fps, but should normally be projected at 20 or so. Most of the action is noticeably fast, and this can be conveniently verified by several shots of the second hand of a clock, which consistently chomp through 5 seconds of clockface in 4 seconds of screentime, or 4 in 3.
The film is presented completely silent (but it's DOLBY silence), as is standard for the Panorama discs. This is a movie that could really do with a smart score, as music is crucial to the story (and different kinds of music are used to define different milieux, so when Joji starts listening to classical music, you know something's amiss).
Days of Youth
This is a superb, eye-opening film. The earliest surviving Ozu, it demonstrates complete mastery of (and intimate familiarity with) western film grammar, thus indicating that the idiosyncracies of his mature style were hard-won, conscious decisions, not developments in a vacuum. Tellingly, one of the film's most prominent props is a poster of Borzage's 7th Heaven.
It's a college comedy, and deals quite extensively in physical comedy - far more so than in any other Ozu comedy I've seen. An early sequence in which Yamamoto in embroiled in an elaborate wet paint joke owes so much to the great silent clowns that I wonder if his round glasses were a conscious nod to Harold Lloyd.
As with many early Ozus, the camera is much freer than in the later films. In this case the entire film is bracketed with ambitious aerial pans of the entire neighbourhood. Elsewhere, he uses lateral tracking shots (following a tram or a mass of walking students), forward and backward tracking shots (headlong along a train track; slowly backwards from a phonograph) and pans and tilts to reveal information (the teacher catching a cheating student; a kettle on a stove; in one case he makes a transition from one scene to another by tilting up a flag pole in one shot and tracking down another pole in the next).
Ozu's spatial editing is also much more 'western' and conventional than in his later films, and generally much faster paced. This allows for some unexpected effects. Ozu would become one of cinema's greatest masters of transitions, linking one discrete space to the next through a chain of images (or, with the brilliant use of the baseball game in An Autumn Afternoon, through images, sounds and ideas), but I can't think of any other examples off the top of my head of him cutting between simultaneous action in non-contiguous spaces, as when we follow a conversation in an upstairs room and the action in the street below, or when we shift between Yamamoto and his girl and the man discovering the dropped glove in the street.
The film also suggests familiarity with Impressionist films (and we certainly have evidence - see below - that Ozu was as au fait with contemporary French film as he was with Hollywood) in its use of subjective camera (some great skiing accidents observed from Yamamoto's discombobulated point of view), montage effects (the elegantly minimal insertion of brief shots of speeding wheels and wires before Yamamoto's skis fall over in the tram; a dissolve from the beginning of the unloading of a cart to the end of the process) and metonymic inserts.
Ozu's use of inserts in the film is particularly eloquent and significant. The film includes none of his typical transitional "pillow shots", but it does include shots of chimneys and windmills that look exactly the same in terms of their composition. The difference here is that they are motivated point-of-view shots: Yamamoto and his friend view these sights when they look out of their window, and the direction of the wind revealed in them is a significant plot point. Other sequences rely heavily on close-ups of objects for their meaning, as when Yamamoto undresses and our attention is directed not to the overall activity, but to the discrete items of clothing he discards.
The use of inserts reaches its climax in the superb scene at the pawnshop, which is told entirely in metonymic close-ups: a phonograph record, an abacus, books, a bowl with money in it. All we see of the participants in the transaction are their hands. Smart, daring filmmaking, and one of many indications in this film that Ozu could have evolved into a completely different, but equally masterful, filmmaker.
Now, I have one BIG question about the film which I hope somebody can solve. When Yamamoto goes to Taguchi, he spends most of his time wearing a shirt with the words "SMACK FRONT ONLY" (in English) emblazoned in large block capitals on the back. What does this mean? Is this an elaborate "KICK ME" joke that only Anglophones were expected to get? And where do I get one of those shirts?
The Disc:
Panorama offer a decent transfer of a badly damaged print. I assume this is as good as it gets: we're lucky that even a single print of this film survives, let alone a complete one. It's so damaged that it's probably beyond restoration, but it's perfectly watchable, and the quality of the film shines through. Strictly silent, despite the comical Dolby intro.
A Mother Should Be Loved
A fine film, in Ozu's more seriously melodramatic mode. This film is famously incomplete, missing its opening and closing reels, which are half-heartedly filled in with intertitles in this presentation. I'm not sure there isn't also a reel missing from the middle of the film as well, as there's something of a jump when we get to the scene with the older son's fellow students.
By this time, as you'd expect, Ozu is settling into his mature style, but we've still got those Western film posters on the walls: Milestone's Rain, Duvivier's Poil de carotte, Pabst's Don Quichotte and a fourth film I can't quite make out near the end.
The Disc:
No real issues. Again, a decent transfer of an aged, incomplete print. No soundtrack. For both these discs, Panorama's English subtitles seemed good, with only a few typos of note. They've certainly come a long way in this area.
Dragnet Girl
Wow! This is one of those early Ozus that seem like the freshly discovered work of some unknown genius. Knowing his other films, it's easy to spot stylistic continuities (characteristic camera placement, 'pillow shots' - but here they tend to be tracking shots or inserts), but if you encountered this film in isolation you could plausibly pinpoint the directorial hallmarks of 'Yasujiro Ozu' as: beautifully orchestrated tracking shots (they're everywhere); fast and loose play with American pulp conventions; stylised choreography of mass movement.
The camera movement in this film is extraordinarily sophisticated. The movie constantly shows off a full range of tracking shots. The most Ozu-esque is the Narusean accompaniment of walking protagonists, but there are also repeated extended tracks along rows of things (hats on hooks, with one falling off on cue), people (a sleek, shoulder-high exploration of the typing pool, coming to rest on one tellingly unattended typewriter), or combinations of the two (a thrilling ankle-high rush past a swinging jazz band and onto the dance floor - twice!), dramatic tracks in (to a window through which a fleeing couple has just passed, for example), and a beautifully gratuitous swivel around a foreground teapot to reveal the door of Joji's flat. The tracking vocabulary is not just empty virtuosity, but deeply integrated into Ozu's storytelling technique: almost every flashy shot is repeated at some point in the film, creating a densely rhymed structure for the film. That teapot swivel, for example, happens twice, opening a scene and resting on the door just as Joji enters. The characteristic movement also occurs a third time, but in that case there's no teapot, and other things have changed as well. . .
Along with at least a couple of other early films, Dragmet Girl doesn't just demonstrate that Ozu was comfortable and confident in using a moving camera, but conclusively establishes that he was - if only briefly - one of cinema's masters of camera movement.
The film is full of other visual flourishes as well: dark figures and their shadows moving mechanistically across city intersections, seen from a God's-eye view; a whole subtext of Bressonian feet shots (one crucial close encounter between two major characters is seen only from the knees down); and - my favourite - a car racing through the streets seen from directly behind the headlamp (so rather than see the environment racing towards us, we see a wildly distorted view of the receding road). Plus there's a cellarful of moody pre-noir lighting (yep, even those venetian blinds put in an appearance).
For a 1933 film, it's amazing how closely this film anticipates noir. It almost seems to be an expert pastiche, amalgamating virtually all of the iconic settings of the genre (boxing gym, night club, pool hall, ratty apartment) and plenty of other noir tropes (gangsters, good girls vs bad girls, the kid fallen in with the wrong crowd, the couple on the run, the heist). And yet the film never lapses into the generic. For much of the film, for example, we don't know which couple stands at the centre of the film and which slightly to the side.
Anybody who continues to repeat the old saw of Ozu being the "most Japanese" of Japanese directors has clearly not seen this film. This is Ozu at his most unapologetically Americanized. The film's content is a joyous hodge-podge of filmic Americanisms and Ozu uses English language as a key element of the art direction. Virtually every scene of the film incorporates very prominent English text into its decor: American boxing posters; an RCA Victor store in which every lovingly-composed shot includes a different, prominent Nipper; a pool hall with ten-foot high house rules in English dominating the background of every shot. And if you're keeping track of Yasujiro's Poster Collection, you now need to add King Vidor's The Champ and a French poster for All Quiet on the Western Front.
The Disc
Another solid effort from Panorama in terms of the transfer and subtitles (only a handful of infelicities, such as the repeated use of an unidiomatic "knock you down"). The issues with the disc may well stem from the source print and Shochiku transfer.
First, the sides of the image are slightly blurry. It's like a 'focus bleed' on the extreme left and right of the frame. This may well reflect the status of the surviving materials. Otherwise, the print looks to be in pretty good shape.
A little more troubling is a slight speed-up of the film. It looks as if this film was mastered at 24fps, but should normally be projected at 20 or so. Most of the action is noticeably fast, and this can be conveniently verified by several shots of the second hand of a clock, which consistently chomp through 5 seconds of clockface in 4 seconds of screentime, or 4 in 3.
The film is presented completely silent (but it's DOLBY silence), as is standard for the Panorama discs. This is a movie that could really do with a smart score, as music is crucial to the story (and different kinds of music are used to define different milieux, so when Joji starts listening to classical music, you know something's amiss).
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Steven H
- Joined: Tue Nov 02, 2004 3:30 pm
- Location: NC
Great reviews, Zedz. I return to this film as much as Late Spring and Tokyo Twilight, and consider it an easy favorite among Ozu's films, for all the reasons you made, mainly.
For a score, I suggest listening to as much Lester Young/Duke Ellington of the mid thirties as you can. It fits beautifully.
For a score, I suggest listening to as much Lester Young/Duke Ellington of the mid thirties as you can. It fits beautifully.
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
It would be hard to create a musical score for "Dragnet Girl" that could rival the "virtual score" that is already there (by implication). This is a very noisy silent film. ;~}
This is a wonderful film, but I think I actually like Ozu's prior gangster "Walk Cheerfully" even more. The camera work in this is even more playful (probably the most playful in all of Ozu's surviving films). (Of course, the even earlier "Days of Youth" may have the first "ski cam" shots ever in a feature film).
The acting in "Dragnet Girl" is first-rate. And the mise en scene is extraordinary -- especially the increasingly deteriorating condition of the couple's apartment. (Forseeing "Exterminating Angel"?)
This is a wonderful film, but I think I actually like Ozu's prior gangster "Walk Cheerfully" even more. The camera work in this is even more playful (probably the most playful in all of Ozu's surviving films). (Of course, the even earlier "Days of Youth" may have the first "ski cam" shots ever in a feature film).
The acting in "Dragnet Girl" is first-rate. And the mise en scene is extraordinary -- especially the increasingly deteriorating condition of the couple's apartment. (Forseeing "Exterminating Angel"?)
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Steven H
- Joined: Tue Nov 02, 2004 3:30 pm
- Location: NC
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whaleallright
- Joined: Sun Sep 25, 2005 12:56 am
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
Sternberg was a major influence on Japanese cinema (Docks of New York was especially significant). So was Murnau's Last Laugh (which could also explain the proto-noirishness of films like Dragnet Girl.jonah.77 wrote:I think some of the chiaroscuro and other lighting effects you observe in "Dragnet Girl" -- which you argue anticipate noir -- are partly a result of Ozu, like many other Japanese directors of the period, emulating Von Sternberg.
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
No guesses from me.ellipsis7 wrote:Any guesses for what next from panorama - WOMAN OF TOKYO maybe?...
This is very short -- only 40 or so minutes -- and several minutes are courtesy of Lubitsch. The two female leads (ill-fated Yoshiko Okada and Kinuyo Tanaka) are superb, the male lead is a bit of weak link here (then again, he is _supposed_ to be).
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unclehulot
- Joined: Tue Nov 02, 2004 3:09 pm
- Location: here and there
Although the Japanese have mis-interpreted that Sternberg opus to be an expose of the medical profession in New York........my Laserdisc release (coupled with Underworld) prominently displays this as The Docs of New York!!Michael Kerpan wrote:Sternberg was a major influence on Japanese cinema (Docks of New York was especially significant). So was Murnau's Last Laugh (which could also explain the proto-noirishness of films like Dragnet Girl.
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
Honto?unclehulot wrote:Although the Japanese have mis-interpreted that Sternberg opus to be an expose of the medical profession in New York........my Laserdisc release (coupled with Underworld) prominently displays this as The Docs of New York!!
I don't know that Ozu makes any explicit reference to Sternberg in a film (the way he references Lloyd and Lubitsch), but the look and feel of Woman of Tokyo is very Sternbergian -- and there are chunks of other Ozu films of the era that evoke the spirit of Sternberg.davidhare wrote:Speaking of Stenberg and Japaneses cinema both Ozu and Mizo greatly admired Blonde Venus (for it's highly stylized depiction of "contemporary life"?) and Mizo indeed pays homage to Marlene's "I Couldn't be Annoyed" number on the Paris catwalk in Osaka Elegy. Does Michael have a comparable Ozu reference?
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Ornette
- Joined: Tue Nov 28, 2006 10:41 am
Do anyone know if the Bo Ying editions that can be found over at YesAsia are identical to the ones released by Panorama? They can be had for 3 bucks less ($6.99), so I figured I'd buy those instead.
Dragnet Girl, A Mother Should be Loved & Days Of Youth can be found a bit cheaper over at DDDHouse. Anyone having any experience with that place?
Also, I'm not sure about Record of a Tenement Gentleman & Flavour of Green Tea Over Rice. Is it worth it paying a bit more to get the Tartans?
Dragnet Girl, A Mother Should be Loved & Days Of Youth can be found a bit cheaper over at DDDHouse. Anyone having any experience with that place?
Also, I'm not sure about Record of a Tenement Gentleman & Flavour of Green Tea Over Rice. Is it worth it paying a bit more to get the Tartans?
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Michael Kerpan
- Spelling Bee Champeen
- Joined: Wed Nov 03, 2004 1:20 pm
- Location: New England
- Contact:
Not sure if Bo Ying is a totally legit source or not. Panorama certainly has done more to support thew Ozu cause...Ornette wrote:Do anyone know if the Bo Ying editions that can be found over at YesAsia are identical to the ones released by Panorama? They can be had for 3 bucks less ($6.99), so I figured I'd buy those instead.
Also, I'm not sure about Record of a Tenement Gentleman & Flavour of Green Tea Over Rice. Is it worth it paying a bit more to get the Tartans?
I've got the Tartan set -- I think the subs are more idiomatic than those of Panorama.
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Ornette
- Joined: Tue Nov 28, 2006 10:41 am