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The Story of Film: An Odyssey

3.7 out of 5 stars 111 customer reviews

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Special Features

None.

Product Details

  • Actors: Mark Cousins, Claire Denis, Alexander Sokurov, Wim Wenders
  • Directors: Mark Cousins
  • Format: Multiple Formats, Box set, Black & White, Color, Dolby, NTSC
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Number of discs: 5
  • Rated:
    NR
    Not Rated
  • Studio: Music Box Films
  • DVD Release Date: December 11, 2012
  • Run Time: 916 minutes
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (111 customer reviews)
  • ASIN: B008ZDC7M8
  • Amazon Best Sellers Rank: #12,887 in Movies & TV (See Top 100 in Movies & TV)

Customer Reviews

Top Customer Reviews

By David E. Gregson on December 29, 2012
Format: DVD Verified Purchase
May 8, 2102: Since the time I originally posted some comments on this superb documentary essay, "The Story of Film: An Odyssey," I have re-watched all 15 hours of it twice. Several of my friends are cinephiles and college film professors who have been anxious to share this viewing experience with me. This explains my insanity, as it were. Lots of nice dinners at my house and lots of "The Story of Film." Needless to say, everybody I know finds something missing: an important director, an important individual film. Everybody hates something that Cousins loves. (He is is full of hyperbolic praise for the most surprising things.) But we all agree -- this is a stunning achievement. One of the greatest things about it, by the way, is that it makes you want to see hundreds of movies again or for the first time. If I had the energy, I would remove almost all the negative remarks I have made below -- but best to leave it as it stands. I do have to add, however, not one of my friends has any objection to the way Mr. Cousins speaks. I also no longer find that his remarks interfere with the zillion film clips. Just imagine the mountainous task of selecting and obtaining the rights to them!

Earlier review: This huge "The Story of Film: An Odyssey" is an odyssey for sure in the way the author/narrator's ideas stray all over the place intellectually and geographically. But it is coherent unlike Godard's "Histoire(s) du cinéma." It is also highly idiosyncratic and the author's opinions are right in your face. He makes sweeping pronouncements on who and what is great. One is likely to disagree with many of his powerful convictions.

Here at Amazon, I have read a number of unfair negative customer comments.
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My copy of THE STORY OF FILM arrived yesterday and I dove into it immediately.

I have watched the first 3 episodes and so far am really glad I sprang for this set, and I can imagine re-watching it often. Already I am caught up in Cousins' approach, and he continually offers insights I've not encountered elsewhere.

I agree somewhat with the previous reviewer; Cousins perhaps was not the best choice to narrate his own project. To my American ears, his Ulster accent makes each? sentence? sounds as if? it is a question? It is becoming disconcerting. I have been watching Kevin Brownlow's & David Gill's HOLLYWOOD (Thames TV) series, and James Mason's narration is so wonderful in that, but HOLLYWOOD is a less personal approach than THE STORY OF FILM is, I think, intended to be.

The price is reasonable for this immense documentary, considering the number of film clips involved*. (*Christian Marclay's masterpiece THE CLOCK is comprises a virtually uncountable number of film clips, and I don't expect to see a home video release of that art object in MY lifetime.)
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There are those who don't seem be able to stand this series, complaining of the narrator's accent and reading, and also the way it challenges some established (especially Hollywood/US- centric) interpretations of film history. On the first point, Cousins speaks the way many people from Belfast speak and he can hardly be blamed for being Irish. On the second point, it's obvious going in that this work is a personal interpretation of film history that's intended to be thought provoking and challenging. It is not intended or presented as a standard historical overview, rather it's "an odyssey" just as the title declares. If you're looking for a traditional historical overview that leaves your pre-existing prejudices in tact, you might steer clear.

The attempted scope of the work is impressive. Hundreds of films, many of which will be unknown to an American audience are mentioned and many quoted (clearance must have been a nightmare). There are some brilliant observations and connections made. Sometimes Cousins attempts stretches he can't quite make, and some of the interpretation gets a little precious, but even in this the work is instructive. The interlude footage contains many visuals puns on what's being said if one watches carefully, and it's fun to figure these out. The interviews with writers and directors are shot in an anti-cinema style that those wanting something that looks like Discovery Channel talking heads may find off-putting. Again there's more method there than may at first meet the eye.
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As a filmmaker and student of film my interest in this collection was guided by customer reviews here. In fact, I stumbled into it while looking for an old film-history book I can't find anywhere, "Behind the Silver Screen," which was my first film textbook (together with "Film as Art") in the '60s. I was very impressed with Mr. Cousins' ability to hop from one cultural context to another and bring the origins of one film to another into its impact on subsequent generations of film-making. The survey is amazingly comprehensive.

I was, however, turned off from the beginning when Mr. Cousins started his editorializing, trying to pass his opinion as historical fact on the value of one type of film-making over another. To assert that Japanese film is classic while Hollywood film is not at the beginning of the series made me weary of what was to come: not exactly a balanced account.

Some inaccuracies made me cringe. For example, when Mr. Cousins in Disc 2 refers to "Dona Barbara" (1943), directed by Fernando de Fuentes, he states that it was a representation of the Mexican woman as victimized. The film is actually set in Venezuela, in spite of its Mexican production, cast and crew. It was based on a novel by Venezuelan writer Rómulo Gallegos, the finest example of the persistent literary theme of civilization v. barbarism in South America, not a glorification or exultation of Mexican women. These details make his comments less trustworthy as the series progresses: it's always the danger of evaluating cultural aspects of art when such values are alien to the evaluator.

While I would recommend the collection to anyone interested in a visual encyclopedia on film, I warn the viewer of Mr. Cousins insufferably dull delivery as he narrates.
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