Camera Obscura: The Walerian Borowczyk Collection

[Adam X]

Probably just friction in transit. A similar thing can happen with the sleeve of vinyl LP's.
This reminds me I still haven't unwrapped mine yet! May have to change that tonight...

[olmo]

I think something that isn't often mentioned re Borowczyk is his choice of music for his films. He's up there with Kubrick in finding music for a mood (eg Blanche with the poison vial sequence) or a period.

The theme tune for Blanche and Immoral Tales are sublime. The haunting Immoral Tales especially, took the disc back three times before watching the film.

[MichaelB]

He was also substantially ahead of his time - although the early-music revival dates back a full century (the 1915 publication of Arnold Dolmetsch's groundbreaking book The Interpretation of the Music of the XVIIth and XVIIIth Centuries is often considered to be the starting point), period-instrument recordings wouldn't become really fashionable until the late 1970s/early 1980s.

Parajanov's Shadows of our Forgotten Ancestors is in a similar category - he made use of authentic-sounding folk tunes in convincing-sounding performances decades before "world music" became a marketable commodity. (I'm hedging my bets here with the use of the suffix "-sounding", as Parajanov, like Borowczyk, wasn't overly concerned with strict historical accuracy!)

[bdsweeney]

Have any Aussie Kickstarter backers not yet received their box set? I'm still patiently waiting for mine but I am getting a little anxious.

[charal]

My order (non kickstarter) was sent direct from Arrow via a trackable Royal Mail service called "signed for international". It took a week to get here in Adelaide and I've had it for well over a week now. Email Arrow and confirm your shipping date also get your tracking number. Try your local post office it may be there. In other words: you should have had it ages ago!

[EddieLarkin]

I've finished all of the video content of the set now so here are some thoughts:

If one of the aims of the box set was to challenge the image of Borowczyk as merely an arty pornographer, then I hope it will also lead to reconsideration of his erotic work, which I found to be just as impressive as his earlier art house films. Indeed, Contes Immoraux may be my favourite film of the set. The score has already been mentioned here, but the sets and lighting are brilliant as well, particularly in Erzsebet Bathory, which would have been my choice to adapt into a feature over La Bete. It's probably the best film on Bathory I've seen, far superior to Countess Dracula which I watched recently as well (the film is entertaining enough, though features Bathory as an elderly woman who regains youth by bathing in blood, rather than a more realistic young Bathory vainly trying to stave off the loss of her youthfulness).

Perhaps most importantly, each of the four parts of the film feature quality eroticism, which for me is quite hard to come by in most so called erotic films I've seen. Of particular note is Pascale Christophe's turn in Bathory; she is stunningly beautiful, not just in looks but in her movements, reactions and facial expressions (I petition a future release of Les heroïnes du mal just to see more of her). Going by how Boro directs his actors in the footage from The Making of The Beast, I imagine he had a lot to do with how wonderful she is in this. A very memorable, entirely mute performance (as an aside, Boro appears to shoot her "reveal" as a woman in such a way that it seems he is expecting us to be surprised, yet it's blatantly obvious she's female from the moment we see her, despite the masculine attire).

I paired my viewing of Contes Immoraux with the Oberhausen Cut of A Private Collection. I knew going in that it was cut and was entirely at peace with that fact, until I actually saw the scene in question. Rather than just tacking on some beat up vintage footage of a dog and a woman at the end of the film, Boro also intercuts some humorous animation as the sequence plays out. Well, I assume they're intended to be humorous because without the matching zoophilia footage it's impossible to be sure. There will be a cut to say, some cartoon men hammering away at something, so I presume the dog is er, doing the same in the footage preceding it. Then some men playing leapfrog; perhaps the woman is being mounted in the preceding footage? Boro may have made this cut primarily to shock audiences, but clearly he meant it to be a form of entertainment as well. Disappointing that a rushed and poorly thought out law that allows absolutely no exemptions leads to situations like this. The offending footage is of such low quality anyway that no one so inclined could possibly enjoy it as pornography.

Anyway... La Bete is certainly a step down in quality but at this stage completely recognisable as the work of Borowczyk. It's thoroughly entertaining, though offers less to connect with than his other work. I don't have much to say other than it was certainly strange seeing children in the same shots as naked adult actors engaging in simulated sex. I'm not sure what precautions were taken to prevent them seeing anything during takes, but it's still a bit disturbing!

Blanche and Goto were both fascinating, the latter in particular. It's really the only contender for the top spot along with Contes Immoraux. I didn't get on with Blanche as well as I expected and so I'm eager to revisit that one the most. It is true what they say though; it is one of the very best depictions of the middle ages I've ever seen. In that regard it feels more of a companion piece to Contes Immoraux than Goto. Both films reminded me a great deal of Pasolini's Trilogy of Life.

The shorts are invariably excellent, though I was disappointed that his career in short work seemed to have come to an end prematurely. Something like Renaissance is brilliant and yet it's really the only example of that style of animation that he appears to have done. I was clamouring for a whole series of such work, similarly with Grandma's Encyclopedia.

Theatre de Monsieur & Madame Kabal was probably the biggest surprise in the set. I enjoyed Le Concert but was apprehensive about seeing it expanded to 10 times its length. On the contrary, I was engaged throughout the run time despite the loose narrative, and found the film to be clever and very humorous. Maybe it was because it was the first feature I watched, but I also felt the restoration was spectacular, more so than even the live action titles. I cannot imagine enjoying the film as much in lesser quality; the presentation really brought it to life. Everyone knows how technically excellent the set as a whole is so I won't wax lyrical about how amazing everything on the set looks, from the films to the commercials to even the extras, which are all highly informative. One question though (to Michael/David/Francesco), for the Frenzy of Ecstasy feature, did Daniel Bird use stock footage for those seals or did he pop down to his local zoo to film some? These are the sort of things I ask myself...

Anyway, thank you to all involved in the set, please give us more! I understand there are two more titles that could tentatively get a release; if so I only ask that you give them sequential spine numbers as well (#6, 7 and so on).

[MichaelB]

One question though (to Michael/David/Francesco), for the Frenzy of Ecstasy feature, did Daniel Bird use stock footage for those seals or did he pop down to his local zoo to film some? These are the sort of things I ask myself...

He filmed it himself. I had to ask for one shot to be removed in post-production because it featured clearly identifiable kids admiring the seals - I asked him with a Sally Bercow-style "innocent face" whether he'd got all the kids' parents to sign release forms (i.e. knowing perfectly well what the answer would be). This might not normally be a problem, but given the rather sexually graphic nature of the earlier part of the piece I thought it was best to avoid any potential controversy there. The seal didn't sign a release form either, but I suspect we got away with that grievous omission.

Anyway, thank you to all involved in the set, please give us more! I understand there are two more titles that could tentatively get a release; if so I only ask that you give them sequential spine numbers as well (#6, 7 and so on).

We are indeed actively chasing at least two more titles, and hope to make an announcement about one of them very soon. But we've decided not to continue with spine numbers, because:

a) these new releases will most likely be combined UK/US editions, and so will be annoying to US customers who won't be able to play most of the region-locked earlier discs;
b) we're not going to be able to maintain chronological sequence any more;
c) they may not be Arrow Academy releases any more, given that most of Borowczyk's post-75 work clearly falls squarely into an exploitation field that's more suited to Arrow Video.

...so we think they'll be more trouble than they're worth.

Basically, they served their purpose - the idea was that by giving Immoral Tales and The Beast the highest two numbers this might goad spine-number fetishists into buying the three less commercial releases just to get their shelves looking neat.

[MichaelB]

J. Hoberman on Blanche (with a capsule description of the short-films disc as well).

[EddieLarkin]

Fair enough about the spine numbers, understandable with the move to America. I'll live! And I've no doubt that you got at least a couple of Arrow Video fans to get the earlier spine numbers to satiate their collector mentality; very clever!

[antnield]

Boro fans may want to take a look at the first update from Arrow Video USA's Indiegogo campaign.

[swo17]

Who did you have to murder to make this happen, and also, thank you! For committing murder.

[EddieLarkin]

Again with that poker face Michael! Well, this is incredibly exciting. I had my money on Story of a Sin, but this is better! Role on La marge as well!

[rwaits]

I'd be extremely curious to know how this development materialized, if that can be divulged.

[MichaelB]

I'd be extremely curious to know how this development materialized, if that can be divulged.

In a nutshell, a lot of badgering and arm-twisting, for which Daniel Bird and Francesco Simeoni must take all the credit. Even as recently as a few months ago, I never believed this would actually happen, and the contract was only signed yesterday.

(As you'll doubtless have spotted already, I was a bit restricted for visual material when putting that trailer together - I didn't think VHS-sourced moving images would have done a particularly great job of selling a brand new HD restoration! Fortunately, the flash-cut technique is used in the film itself, and so it was surprisingly easy to get its atmosphere across using just stills.)

[criterion10]

(As you'll doubtless have spotted already, I was a bit restricted for visual material when putting that trailer together - I didn't think VHS-sourced moving images would have done a particularly great job of selling a brand new HD restoration! Fortunately, the flash-cut technique is used in the film itself, and so it was surprisingly easy to get its atmosphere across using just stills.)

Well, it was certainly effective in giving me a good jolt, that much is certain!

[Koukol]

I'd be extremely curious to know how this development materialized, if that can be divulged.

In a nutshell, a lot of badgering and arm-twisting, for which Daniel Bird and Francesco Simeoni must take all the credit. Even as recently as a few months ago, I never believed this would actually happen, and the contract was only signed yesterday.

(As you'll doubtless have spotted already, I was a bit restricted for visual material when putting that trailer together - I didn't think VHS-sourced moving images would have done a particularly great job of selling a brand new HD restoration! Fortunately, the flash-cut technique is used in the film itself, and so it was surprisingly easy to get its atmosphere across using just stills.)

CHEERS all!

[PfR73]

Is there anyone who ended up with two copies and has one they are willing to sell? It doesn't look like Zavvi is ever going to ship my order, even though they haven't cancelled it. I emailed them and they seem totally clueless about this being a limited edition as they simply responded "We're out of stock & are waiting for more to arrive, although we don't know when that will be."

[Dr. Face Head]

I'd be extremely curious to know how this development materialized, if that can be divulged.

In a nutshell, a lot of badgering and arm-twisting, for which Daniel Bird and Francesco Simeoni must take all the credit. Even as recently as a few months ago, I never believed this would actually happen, and the contract was only signed yesterday.

(As you'll doubtless have spotted already, I was a bit restricted for visual material when putting that trailer together - I didn't think VHS-sourced moving images would have done a particularly great job of selling a brand new HD restoration! Fortunately, the flash-cut technique is used in the film itself, and so it was surprisingly easy to get its atmosphere across using just stills.)

Are you restricted from subtly hinting at the possibility of future Borowczyk titles in 2015? Specifically IMMORAL WOMEN, BEHIND CONVENT WALLS, LOVE RITES, STORY OF SIN, and of course LA MARGE? I guess when I saw the five titles surrounding JEKYLL with "?" on them placed together as a reward/contribution level, I instantly went there mentally...to the idea of possible Boro goodies being aligned into a constellation for 2015 there...

Also, as for the trailer materials; don't beat yourself up over it. Nobody expects anything if they know the back-story at all on this film. I understand that it's a bit of a numbers game when trying to elicit interest from the lowest common denominator, whose wallet holds equal currency to that end, but I think most folks who actually give a %^&# about the film are just thrilled it's happening and completely "get it". In the case of those low low denominators out there though, the sense of intrigue is only heightened by the lack of content! Black screens and key images that elicit the sense of wonder those quotes describe verbally. That's a nice device actually, why not?!

[MichaelB]

I very much hope that Dr Jekyll won't be the last Arrow Borowczyk release, but that's all I can say for now.

And I'm actually very pleased with the trailer - I genuinely don't think that I could have done a better job given what I had to work with!

[Charles]

Camera Obscura #641/1000 was ordered on June 23 and delivered on October 31, in perfect condition, and I couldn't be happier.

Along with this post go my thanks and apologies, which I just emailed to MovieMail, for the supreme patience with which their staff must have viewed and tolerated my emails demanding investigation and resolution.

My interest in Borowczyk is fairly recent, and when I decided I wanted the set, it was already sold out. When someone posted that MovieMail had it listed, I jumped on it. Later, as I followed the reports of people's deliveries, I began to believe that my copy, though confirmed, had actually not been allocated, and that I'd be accepting defeat and going with the individual releases. But Stephen at MovieMail followed up on it to the end, and today I found a very protectively wrapped package (which I'd requested long ago -- they didn't forget) filling my mailbox.

I shall now shut up and go out and do a few good deeds. Or something.

[criterion10]

I finally started to dig into this box set, watching The Beast yesterday and Immoral Tales today. As for the former, it is definitely one of the most batshit, crazy films I have seen in quite some time. It's one of those films every filmgoer has to see at least once; even if one hates it, the shock value certainly won't disappoint!

Though for the film's reputation and eventual graphic nature, the first hour or so is pretty tame, and I can see why some struggle with the film due to this segment of the film. I was never uninterested, so this didn't bother me, but the sort of Buñuelian focus on the superficiality of the elite and the hypocrisy of religion is never as engaging or in-depth as it should be. Ultimately, it doesn't seem as though Borowczyk is too interested in this though -- his intentions are really to provoke, and his film is exactly that, a provocation, and a very effective one!

On the other hand, Immoral Tales suffers from the same problem most anthology films suffer from: some segments being better than others. I personally really liked the dreamy, voyeuristic atmosphere of The Tide, which I would argue is the best thing Borowczyk has directed from what I've seen thus far, and the horroresque tone of Elizabeth Báthory was also very well done. (It would have been very interesting to see Borowczyk adapt the latter story for a feature film!) But, the other two segments were pretty weak, with Thérése Philosophe being pretty one-note, and Lucrezia Borgia just not quite working for me. His study of religion and how it can repress others is evident in both of these stories, however.

An interesting start, to say the least. Also planning to work my way through the special features, though I'm most curious to see how Goto and Blanche compare with Borowczyk's more erotic works. (In the two films I watched, he has an undeniable male gaze that is pretty hard to defend at times, and I'd be lying if some moments aren't downright titillating.)

Side question: Is The Beast segment of the L'age d'Or cut of Immoral Tales essentially just the dream sequences from the feature film edited together in sequence? Or are there any significant differences...

[EddieLarkin]

Side question: Is The Beast segment of the L'age d'Or cut of Immoral Tales essentially just the dream sequences from the feature film edited together in sequence? Or are there any significant differences...

Basically, but there are additional shots that were left out of the feature film version, some of which are even more explicit than what appears there. Definitely the version to show friends you want to shock...

[criterion10]

Having now made my way through the majority of the "Short Films and Animation" (everything except the Theater of Mr. and Mrs. Kabal feature and the Holy Smoke! commercial), I have to say that this disc may very well contain Borowczyk's best work (unless, of course, both/either Goto and/or Blanche truly blow me away).

Renaissance has fantastic use of stop motion (all done in reverse, no less!) and sound design. Interesting to read online about Boro's fascination with objects, and how this short perfectly represents this, as well as the horror that senseless destruction (war) may bring about to the arts, knowledge, and other important elements that these objects represent.

But, Rosalie is also fantastic. Most unique in here is Borowczyk's cuts to the objects scattered around Rosalie's room, some of which she used in the act of murder. Having the objects reverse their current state (for instance, the bloodied sheets become unbloodied), before fading away entirely seems to suggest that Rosalie's confession has purged her of her sins and caused the crime to become undone (the ending of the film further cements this belief). It's a really unique way of expressing this.

Gavotte also has a wonderfully odd vibe to it, and Les Astronautes is simply revolutionary in its style. These four shorts are probably my favorites of the set (and if one includes A Private Collection, that would bring the tally up to five), while Joachim's Dictionary and The Phonograph are also very good. I know that Les Jeux de Anges is considered to be one of his best, but I wasn't really able to pick up on its concentration camp imagery -- I suppose its unique style left me too bewildered.

I look forward to reading through the essays found in the big book for further commentary on the shorts. Borowczyk's work here really demonstrates the artistic potential both shorts and animation offer.

[MichaelB]

Camera Obscura takes the number one slot in Little White Lies' 2014 top 25 "by several furlongs":

[T]his really is the gold standard of 21st century home entertainment releases, its makers at Arrow Video clearly poring over every minute detail to produce a cinematic shrine worthy of its marginalised subject.

[effigy105]

Seeing Borowczyk's short films in carefully rendered HD has proved a depressing reminder that the vast majority of short cinema I have seen has come via cheaply produced DVDs, sourced from unrestored prints, or heavily compressed YouTube videos. The additional clarity and especially the texture that HD affords adds a tremendous sensory kick. I could scarcely imagine seeing the likes of Les jeux des anges or Renaissance without that degree of fidelity. It reminds me that I've often overlooked short cinema because, in my mind, a certain connection has developed that they are a bit rough and muddy looking. But of course, that's often just because that's the quality in which they've been available to me.

So basically, a huge thanks to all involved for bringing this set to fruition and bringing one artist's work to us in such wonderful quality. And although I know both were top quality DVD productions at the time, it certainly makes me hope that the BFI might, if materials allow, bump their Quay Brothers and Jan Švankmajer sets to HD too.