Tag Archives: Blu-ray/DVD reissues

Blu-ray reissue: The Grey Fox (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28,2020)

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The Grey Fox – Kino Classics

I was overjoyed to finally retire my dog-eared VHS copy of Philip Borso’s underappreciated 1982 gem. Filmed on location in Washington State and British Columbia, Borso’s biopic is a naturalistic “Northwestern” in the vein of Robert Altman’s McCabe and Mrs. Miller; an elegiac portrait of a turn-of-the century “west” that is making an uneasy transition into modernity (which puts it in a sub-genre that includes Peckinpah’s Ride the High Country or Richard Brooks’ Bite the Bullet).

The film is based on the real-life exploits of “gentleman robber” Bill Miner (who may or may not have been the progenitor of the venerable felonious command: “Hands up!”). The Kentucky native was a career criminal who spent about half his life as a guest of the State of California. First incarcerated in his early 20s, he was released in 1880 and resumed his former activities (robbing stagecoaches). The law caught up with him and he did a long stretch in San Quentin. When he got out of stir in 1901, he was in his mid-50s.

The Grey Fox picks up Miner’s story at this point, just as he is being “released into the 20th-Century” from San Quentin. Miner is wonderfully portrayed by then 60-year-old Richard Farnsworth. Jackie Burroughs is excellent as well, playing a feminist photographer who has a relationship with Miner. John Hunter’s screenplay weaves an episodic narrative as spare and understated as its laconic and soft-spoken protagonist.

Kino’s Blu-ray features a new 4K restoration, highlighting DP Frank Tidy’s fabulous cinematography (he also shot Ridley Scott’s debut 1977 feature film The Duellists, one of the most beautiful-looking films this side of Kubrick’s Barry Lyndon). This is a film well-worth your time, whether this is your first time viewing or you are up for a revisit. (Full review)

Blu-ray reissue: Leave Her to Heaven ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28,2020)

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Leave Her to Heaven – Criterion Collection

There have been a lot of movies about possessive lovers, but the character of “Ellen Berent” (played by achingly beautiful Gene Tierny) takes the cake. Shot in eye-popping Technicolor, John M. Stahl’s 1945 drama (adapted by Jo Swerling from a novel by Ben Ames Williams) is equal parts film noir and twisted soaper.

Cornel Wilde co-stars as Richard Harland, a novelist who has a chance meeting with Ellen on a train. Before he knows what hit him, the slightly off-kilter but undeniably alluring socialite has introduced Richard to her well-to-do family, and in the blink of an eye, Ellen is dragging him down the aisle. Not that he resists (I mean, my god…look at Gene Tierny…look at her!) but as tends to occur in  quickie betrothals, any poisons that may lurk in the mud don’t hatch out until after the honeymoon’s over.

As pointed out by film critic Imogen Sara Smith in an enlightening video essay produced exclusively for Criterion’s Blu-ray release, Tierny was perennially underrated as an actor due to her striking looks. I heartily agree-Tierney delivers a subtly chilling performance in this film. While you could call Leave Her to Heaven the original Fatal Attraction, by comparison Glenn Close’s clingy psycho is more like a cartoon villain and far less compelling. Excellent support from Jeanne Crain, Vincent Price, Mary Phillips and Ray Collins.

Leon Shamroy’s cinematography has never looked this luminous on home video. Criterion’s edition features a new 2K restoration by Twentieth Century Fox, the Academy Film Archive, and The Film Foundation. A must-have for the noir fan on your gift list.

Blu-ray reissue: Essential Fellini (Box set)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

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Essential Fellini – Criterion Collection box set

With such a rich oeuvre to cull from, it’s a bit of a head-scratcher that it’s taken this long for someone to curate a decent Federico Fellini collection. That said, Criterion’s 2020 box set proves worth the wait. Predicated on the 100th  anniversary of Fellini’s birth, the collection cherry picks 14 of the “essentials” from his catalog, from obvious choices like La Strada, Nights of Cabiria, La Dolce Vita, , Amarcord and Juliet of the Spirits to previously harder to find early works like Variety Lights and The White Sheik. All the films have been newly restored.

As the set was released only several days ago, I haven’t had a chance to make a huge dent but the two films I have watched are impeccably restored (I started with 1950’s Variety Lights because I’d never seen it, and decided to feast on my favorite Fellini Amarcord on Thanksgiving…wow. Now that is one film the 4K restoration process was made for!).

Extras. Where do I start? Two feature documentaries…Fellini: I’m a Born Liar (great doc) and I’m looking forward to Marcello Mastroianni: I Remember (3 hours!). Also included is a restored version of the curio Toby Dammit. Starring Terrance Stamp, the 40-minute film was Fellini’s contribution to the 1968 horror omnibus/Edgar Allan Poe triptych Spirits of the Dead (Roger Vadim and Louis Malle directed the other two segments). There are numerous commentary tracks, TV interview segments, and more.

There are two books, one is a guide to the films and the other contains essays. It’s all housed in a sturdy album-sized box, with the discs secured in “coin collector” style pockets (similar to Criterion’s lovely Bergman box set released back in 2018).

Blu-ray reissue: The Elephant Man (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

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The Elephant Man – Criterion Collection

This 1980 David Lynch film (nominated for 8 Academy Awards, including Best Picture) dramatizes the bizarre life of Joseph Merrick (John Hurt), a 19th Century Englishman afflicted by a physical condition so hideously deforming that when he entered adulthood, his sole option for survival was to “work” as a sideshow freak. However, when a compassionate surgeon named Frederick Treaves (Anthony Hopkins) entered his life, a whole new world opened to him.

While there is an inherent grotesqueness to much of the imagery, Lynch treats his subject as respectfully and humanely as Dr. Treaves. Beautifully shot in black and white (by DP Freddie Francis), Lynch’s film has a “steampunk” vibe. Hurt deservedly earned an Oscar nod for his performance, more impressive when you consider how he conveys the intelligence and gentle soul of this man while encumbered by all that prosthetic. Great work by the entire cast, which includes Anne Bancroft, Freddie Jones and John Gielgud.

Criterion’s Blu-ray features a gorgeous 4K restoration, archival interviews with the director, Hurt, co-producers Mel Brooks and Jonathan Sangar (and others associated with the production), a 2005 program about the real “elephant man” John Merrick, and more.

Blu-ray reissue: Diva (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

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Diva – Kino Classics

Jean-Jacques Beineix’s 1981 cult fave kicked off a sub-genre that hoity toity critics have labelled Cinéma du look…or as I like to call ‘em: “really cool French thrillers of the 80s and 90s” (e.g. Beineix’s Betty Blue, and Luc Besson’s Subway, La Femme Nikita, and Leon the Professional). Diva not only reigns as my favorite of the bunch but would easily place as one of my top 10 films of the 80s.

Our unlikely antihero is mild-mannered postman Jules (Frédéric Andréi), a 20-something opera fan obsessed with a Garbo-like diva (American soprano Wilhelmenia Wiggins Fernandez). The diva has never recorded a studio album and strictly stipulates that her live performances are never to be taped and/or reproduced in any medium. A clearly enraptured Jules attends one of her concerts and makes a high-quality bootleg recording, purely for his own edification. By chance, a pair of nefarious underworld characters sitting nearby witness Jules making the surreptitious recording and see nothing but a potential goldmine in the tape, sparking a chain of events that turns his life upside down.

Slick, stylish and cheeky with a wonderful international cast, Diva is a marvelously entertaining pop-art mélange of neo-noir, action-thriller, and comic-book fantasy. Chockablock with quirky characters, from a pair of hipster hit men (Gérard Darmon and Dominique Pinon) who hound Jules to his savior, a Zen-like international man of mystery named Gorodish (scene-stealer Richard Bohringer) who is currently “going through his cool period” as his precocious teenage girlfriend (Thuy Ann Luu) patiently explains to Jules.

I have owned 2 DVD versions of the film over the years, the transfers were passable but less-than-ideal. Kino’s Blu-ray, while still not the diamond quality I’d been hoping for (it is obviously not restored) it is by far the best-looking print I’ve seen of the film. Extras include interviews with members of the cast and crew (which have already appeared on a previous DVD edition) and a brand new commentary track by film critic Simon Abrams. A real gem!

Blu-ray reissue: Day of the Dolphin (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

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The Day of the Dolphin – Kino Classics

“Fa loves Pa!” This offbeat 1973 sci-fi film marked the third collaboration between Buck Henry and director Mike Nichols. Henry adapted the script from Robert Merle’s novel. George C. Scott is excellent in the lead role as a marine biologist who has developed a method for training dolphins to communicate in human language. Naturally, there is a shadowy cabal of government spooks who take keen interest in this breakthrough. I like to call this one a conspira‘sea’ thriller (sorry).

Kino’s 2020 Blu-ray reissue features a new 4k digital restoration, a new commentary track by film historians Howard S. Berger and Nathaniel Thompson, and interviews with screenwriter Buck Henry and cast members Leslie Charleson and Edward Herrmann.

Pointing a way to the moon: Bruce Lee hits Criterion

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 15, 2020)

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TV interviewer: Do you think of yourself Chinese, or do you ever think of yourself as North American?

Bruce Lee: You know what I want to think of myself? As a human being.

At the risk of provoking fists of fury from gentle San Francisco or Hong Kong readers, we here in Seattle consider Bruce Lee a hometown boy. Granted, he was born in San Francisco and raised in Kowloon. However, he lived in Seattle for five years (from 1959-1964). In the early 60s, he attended the University of Washington, where he met and eventually married the love of his life, Linda Emery. And Seattle is his final resting place.

While it’s been on my checklist since I moved to Seattle in 1992, I have yet to make the requisite pilgrimage to Lake View Cemetery to pay my respects to Lee and his son Brandon (my procrastinating skills are as legendary as Bruce Lee’s martial arts prowess).

I have been to Jimi Hendrix’s grave and memorial (in nearby Renton). I only bring this up because I see a few interesting parallels in the life and career trajectories of Bruce Lee and Jimi Hendrix.

Both are pop culture icons and considered maestros in their respective fields. While both honed their craft in Seattle, neither became superstars in America until they until took their act overseas. Both died tragically young-Jimi at 27, Bruce at 32. With youthful visages forever trapped in amber, their legend takes on a mythical quality.

But as we know, gods and goddesses are purely myth; Hendrix and Lee were merely human beings. And as such, they did not suddenly appear from the skies to wow the masses with their talent. On their way to the top, they had to slog through the same travails as anyone-which brings me to the most significant parallel: both artists had to work that much harder in order to transcend the racial/cultural stereotypes of their time.

(via okayplayer)

Following his London Astoria performance Hendrix was labeled the “Black Elvis” and the “Wild Man of Borneo” by the London press. Rolling Stone even went on to refer to him as a “Psychedelic Superspade,” the latter word used to describe black people who were exceptionally talented. These descriptions foreshadowed the challenges Hendrix faced as a black man navigating a “white” genre of music. But they were also indicative of something else, an unfortunate truth that, still to this day, arguably hasn’t been rectified — that although rock was born from the foundation of black music its creation is credited to white artists. […]

Hendrix was the embodiment and a reminder of that harsh truth, a black artist that had to work twice as hard to succeed in a genre that belonged to his people but now wasn’t seen as such. Because of that, Hendrix received hostility from both black and white people; the former felt he had betrayed his own race for catering to predominantly white audiences with white band mates during a time of Black Power and separatism, while the latter was intimidated by him.

Like Hendrix, as he gained notoriety Lee frustratingly found himself in a “push me-pull you” conundrum, stuck between two worlds. Following his short-lived but career-boosting stint as “Kato” in the 1966 TV series Green Hornet, he began to get more acting offers, but was unhappy about Asian stereotypes Hollywood was continuing to propagate. As his widow Linda recalled in Bao Nguyen’s excellent ESPN documentary, Be Water:

“He refused to play any parts that were demeaning to Chinese people, and for the next few years, he had very few parts.”

The final straw for Lee was in 1971, when he pitched a TV idea for an “Eastern” western called The Warrior. Long story short, the idea was initially nixed, but was later re-tooled as Kung Fu, starring white actor David Carradine as a Shaolin monk wandering the old West. Reportedly, studio execs were reticent to cast Lee because of his Chinese accent.

In a bit of serendipity, Lee was offered a contract soon afterwards to star in several martial arts films in Hong Kong, where Green Hornet reruns (popularly referred to there as “The Kato Show”) had made him a cult figure.

Initially, not all of Hong Kong welcomed him with open arms; in the aforementioned ESPN documentary, family members recall Lee getting local backlash for “selling out” to Western culture and then returning to China as a “big shot” (Lee was born in a trunk; one of his parents was a Cantonese opera star, and he worked in the Hong Kong film industry as a child actor before moving to America). But once his first starring vehicle The Big Boss hit theaters, Lee’s charisma and star quality came to the fore, and such criticism was forgotten.

A string of even bigger hits soon followed, starting with 1972’s Fist of Fury. Now with his own production company, Lee went full auteur for his next project, Way of the Dragon (serving as writer-director-star… and of course, fight choreographer!). At this point, his star was rising so fast that he ended up abandoning his next Hong Kong production Game of Death (which he’d already begun shooting) so he could jump on an offer from Warner Brothers to star in a US-Hong Kong co-production: Enter the Dragon.

The rest, as they say, is history (although sadly Lee died less than a week before the release of Enter the Dragon, which posthumously turned him into an international superstar and remains his most popular and iconic film).

When you consider that Lee’s martial arts legacy and iconography is largely predicated on a scant five feature films, it’s hard to believe that it’s taken this long for a definitive Blu-ray collection to hit the marketplace, but Criterion’s new box set should please Bruce Lee fans to no end.

Cheekily entitled Bruce Lee: His Greatest Hits, the set has 4K digital restorations of The Big Boss, Fist of Fury, The Way of the Dragon, and Game of Death. There are two versions of Enter the Dragon included (both with a 2K restoration). One is the “rarely seen” 99-minute original 1973 theatrical presentation; the other is a 102-minute “special edition” with optional 5.1 Surround DTS-HD Master Audio soundtrack.

Just for giggles, they have tossed in a high-def (not restored) presentation of the posthumous 1981 film Game of Death II (which I’ve never seen) and Game of Death Redux, which is “a new presentation of Lee’s original Game of Death footage”. OK then.

While I haven’t had a chance to watch them all yet, spot-checking reveals that these are the best-looking prints of the 5 principal films I’ve seen to date. The extras are plentiful: multiple programs and documentaries about Lee’s life and philosophies, a plethora of interviews with Lee’s fellow actors, as well as many of his collaborators and admirers. There are also commentary tracks and interviews with Lee biographers, Hong Kong film experts and others.

It approaches overkill for the casual Bruce Lee fan, but if you’re a hardcore martial arts fan (sorry, have to say it) you’ll really get a kick out of this box set.

Blu-ray reissue: A Little Romance (***1/2)

Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 18, 2020)

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A Little Romance – Warner Archives

This 1979 comedy-drama from George Roy Hill (with a screenplay adapted from a Patrick Cauvin novel by Allan Burns) is best described as a puppy-love Before Sunset.

A 13-year-old movie-obsessed French boy with an above-average IQ (Thelonious Bernard) Meets Cute with a 13-year-old American girl with an above-average IQ (Diane Lane) on a movie set in Paris. They encounter a grandfatherly rapscallion (a hammy Laurence Olivier) who convinces them that the only way to affirm their love is to kiss under the Bridge of Sighs at sunset. The trio hit the road to Venice-with authorities in pursuit (alerted by the kids’ concerned parents).

This is a wonderful film; warm, funny, and endearing. Full of great little touches, like in the opening scene where Bernard is watching an American western dubbed in French. The film is Butch Cassidy and the Sundance Kid. In a later scene, he and Lane happen into a theater showing The Sting (obvious in-jokes for movie buffs, as both of those films were directed by Hill!). Also, in the opening scene Bernard snatches the poster for Butch Cassidy and the Sundance Kid on his way out and gets chased down the street by the theater manager…an homage to the opening scene in Francois Truffaut’s The 400 Blows.

Warner Archives’ Blu-ray is bare bones (only one extra feature, “Remembering Romance with Diane Lane” which I have not got around to watching yet) but the transfer looks to have been taken from the best elements available (if not  actually “restored”). The audio is presented in the original 2.0 mono, but with DTS-HD Master Audio enhancement.

Blu-ray reissue: The Last Valley (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 18, 2020)

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The Last Valley – Kino-Lorber

Films set in Germany during The Thirty Years War are a niche genre…but as far as films set in Germany during the Thirty Years War go, one could do worse than this nearly forgotten but worthwhile drama from writer-director James Clavell.

The “outsider” is a recurring theme in Clavell’s work; and this tale is no exception. In this case the “outsider” is a two-headed beast in the form of an apolitical war refugee (Omar Sharif) and the ruthless Captain (Michael Caine) of a small contingent of mercenaries who both stumble upon a “hidden” valley whose residents have somehow managed to remain unscathed by the ravages of war and the Plague.

The Captain is ruthless (he would just as soon slit your throat as look at you) but also pragmatic; he decides against his initial impulse to kill Sharif, pillage the sleepy hamlet and move on after the quick thinking and silver-tongued Sharif convinces him it would be better all-around to spare the residents in exchange for putting his battle-weary soldiers up for the winter. The villagers, who seem malleable and complacent at first, come to reveal their own brand of pragmatism. A well-mounted period piece that also works as a timeless observation of human behavior in survival situations.

Kino-Lorber’s transfer of this 1971 film is excellent (although it does not look restored) and the audio quality is decent, which serves John Barry’s rousing score quite well. The only extra is a new commentary track, by a trio of film historians. It gets overly chatty at times with three people, but for the most part the observations are enlightening.

Blu-ray reissue: Atlantic City (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 18, 2020)

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Atlantic City – Paramount

Burt Lancaster and Susan Sarandon deliver outstanding lead performances in this 1980 neo-noir/character study from Louis Malle. Lancaster plays a fading, low-level gangster eking out a living as a bookie. He is also the weary caretaker (and occasional lover) of his former boss’s ailing widow (Kate Reid), who lives in the apartment directly below (whenever she needs him, she comically yanks on an old-fashioned room-to-room bell…making him appear more like an indentured servant).

The biggest thrill in the aging hood’s life derives from an occasional peep at his sexy neighbor (Susan Sarandon), whose kitchen window directly faces his across the courtyard of their apartment building. She conducts a nightly cleaning ritual involving fresh lemons over her kitchen sink-topless (I love the soliloquy Lancaster delivers about “the lemons” after she asks him what he does when he watches her…it is a scene that in the hands of two lesser actors would play more lasciviously than so sweetly). Fate and circumstance tosses them together and puts them on the run from murderous gangsters looking to recover some stolen drugs.

John Guare’s screenplay is rich in characterization, bolstered by a marvelous cast (right down to the bit parts). Atlantic City itself becomes a key character, thanks to Richard Ciupka’s cinematography and Malle’s skillful direction. Malle chose an interesting time to film there; many old hotels and casinos were in the process of being demolished in order to make way for new construction, which adds to the overall elegiac tone.

Paramount’s Blu-ray does show a fair amount of grain and is obviously “not restored” (to which some visible debris and scratches attest), but the picture is still a vast improvement over the DVD. No extras, but I am happy to see this gem finally get a decent hi-def release (a previous Blu-ray by Gaumont, which I have not viewed, was reportedly less-than-stellar).