Tag Archives: Blu-ray/DVD reissues

Blu-ray reissue: Happiness (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 4, 2025)

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Happiness (Criterion)

It’s difficult to describe the sensibilities of writer-director Todd Solondz, which tend to hover somewhere near the intersection of Wes Anderson and David Lynch. To wit: There is something oddly endearing about the characters in this black comedy…yet be warned there are some very, very, very bad things going on beneath these blue suburban skies (this ain’t Penny Lane).

In a setup reminiscent of Woody Allen’s Hannah and her Sisters, Solondz  centers his story on the travails of a trio of adult siblings (Jane Adams, Lara Flynn Boyle and Cynthia Stevenson), their squabbling parents (Ben Gazzarra and Louise Lasser), and a number of friends, neighbors and co-workers in their orbit (believe me-the similarities end there).

The three bravest performances in the film (and that’s saying a lot) belong to the late Seymour Hoffman (in one of his more underrated turns), Dylan Baker, and Camryn Manheim. Also in the cast: Jared Harris, Elizabeth Ashley, Molly Shannon, and Jon Lovitz (Lovitz nearly steals the movie in the memorably audacious opening scene).

Admittedly, this film may not be everyone’s cup of tea (be prepared for that “cringe” factor) but if you’re OK with network narratives involving nothing but completely fucked-up individuals, this is your ticket. It’s a veritable merry-go-round of modern dysfunction.

Criterion’s 4K digital restoration is gorgeous (although you may find yourself wishing there was less clarity and detail in some scenes). Extras include new interviews with Solondz and cast member Dylan Baker and an essay by screenwriter-novelist Bruce Wagner.

Blu-ray reissue: City of Hope (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 4, 2025)

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City of Hope (Sony)

John Sayles’ sprawling 1991 drama about urban decay and political corruption (beautifully shot by Robert Richardson) is set in fictional Hudson City, New Jersey (Cincinnati stands in). Vincent Spano plays the central character, the ne’er-do-well son of a property developer (Tony Lo Bianco)  who has dubious ties with local mobsters.  Utilizing his patented network narrative structure,  Sayles weaves in many of his pet themes, such as family ties, culture clash, tests of faith, class warfare and local politics.

There are similarities with the previous year’s Bonfire of the Vanities; but this is a far superior film. I see City of Hope as a precursor to The Wire. The populous cast (uniformly excellent) includes Chris Cooper, Joe Morton, Angela Bassett, David Straithairn, and Gina Gershon.

Save the commentary track by Sayles, Sony’s Blu-ray edition is bereft of extras, but features a nice high-def transfer. I’m just happy to see this nearly forgotten gem get a long-overdue home video release (to my knowledge, it was never even issued on DVD).

Blu-ray reissue: Invasion of the Body Snatchers (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 4, 2025)

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Invasion of the Body Snatchers (Kino)

While there have been three remakes over the decades (Philip Kaufman’s 1978 Invasion of the Body Snatchers, Abel Ferrara’s 1993 Body Snatchers, and the one I have yet to see, Oliver Hirshbiegel’s 2007 The Invasion), I have a particular soft spot for the original 1956 sci-fi classic.

Directed by the versatile (and prolific) Don Siegel and adapted from Jack Finney’s novel The Body Snatchers by Daniel Mainwaring, the story is set in a sleepy California burg, which gets seeded by extraterrestrial spores that quickly germinate into people-sized pods. Each pod is able to replicate a human being, provided it is in close proximity to someone who remains fast asleep during the process. Once the host body is sapped, it is discarded, leaving behind a perfect physical copy devoid of personality; essentially they become malleable automatons, serving the whims of the aliens.

Kevin McCarthy gives an iconic performance as a doctor who is the first person to realize what is happening (of course, nobody believes him, until it’s too late). The film is huge on atmosphere (nice night-by-night work from DP Ellsworth Fredricks helps sustain a mood of  dread and paranoia). Genuine chills and thrills abound throughout.

What I like about the 1956 original is that is very much of its time, vis a vis the sociopolitical subtexts. The Cold War era was in full play; one gets a  sense of allusions and commentary regarding the Red Scare and the bland “Leave it to Beaver” conformity of the era.

I’ve owned the film on DVD and a previous Blu-ray edition; but Kino’s “4K Scan of the Best Available 35mm Elements” lives up to it’s billing, as it’s the best print I’ve seen to date on home video. Features include a choice of the 2.00:1 or 1.85:1 version, both in newly remastered 1080P HD, and 4 commentary tracks (2 of them new).

Blu-ray Reissue: Once Upon a Time in the West (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2024)

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Once Upon a Time in the West (Paramount)

Although it is chockablock with classic “western” tropes, director Sergio Leone somehow manages to honor, parody, and transcend the genre all at once with this 1968 masterpiece. This is a textbook example of pure cinema, distilled to a crystalline perfection of mood, atmosphere and narrative.

At its heart, it’s a simple revenge tale, involving a headstrong widow (Claudia Cardinale) and an enigmatic “harmonica man” (Charles Bronson) who both have a bone to pick with a vicious gun for hire (Henry Fonda, cast against type as one of the most execrable villains in screen history). But there are bigger doings afoot-like building a railroad and winning the (mythic) American West. Also on board: Jason Robards, Jack Elam, Woody Strode and Keenan Wynn.

Dario Argento and Bernardo Bertolucci helped develop the story, and it wouldn’t be classic Leone without a rousing soundtrack by his longtime musical collaborator, Ennio Morricone (be advised you won’t be able to get the “Harmonica Man Theme” out of your head).

There have been several Blu-ray reissues over the years (this latest release makes it a quadruple-dip for me, counting the original DVD edition), but this 4K restoration is by far the best transfer I’ve seen to date (full disclosure: I don’t have 4K playback/monitoring capabilities, so I am judging by the Blu-ray included with this multi-format 2024 reissue). Extras include multiple commentary tracks, a new look back by film critic Leonard Maltin, and a number of other featurettes (some recycled from previous editions and some new ones).

Blu-ray Reissue: To Die For (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2024)

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To Die For (The Criterion Collection)

Gus Van Sant’s 1995 mockumentary centers on an ambitious young woman (Nicole Kidman, in one of her best performances) who aspires to elevate herself from “weather girl” at a small market TV station to star news anchor, posthaste. A calculating sociopath from the word go, she marries into a wealthy family, but decides to discard her husband (Matt Dillon) the nanosecond he asks her to consider putting her career on hold so they can start a family (discard…with extreme prejudice).

Buck Henry based his screenplay on Joyce Maynard’s true crime book about the Pamela Smart case (the obvious difference being that Smart was a teacher and not an aspiring media star, although it could be argued that during her high-profile murder trial, she did in fact become one).

The outstanding supporting cast includes Joaquin Phoenix, Casey Affleck, Illeana Douglas, Alison Foland, Dan Hedaya, and Wayne Knight, with brief appearances by Buck Henry, George Segal (uncredited) and a cameo by director David Cronenberg.

Criterion’s new 4K digital restoration is sparkling. Extras include a commentary track with Van Sant, DP Eric Alan Edwards, and editor Curtiss Clayton, an essay by film critic Jessica Klang, and deleted scenes.

Blu-ray reissue: The President’s Analyst (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2024)

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The President’s Analyst (KL Studio Classics)

Beware the Phone Company! Unlike the empty-headed 60’s spy spoofs James Coburn’s name usually evokes, writer-director Theodore J. Flicker’s 1967 film is one with substance. Coburn plays a psychoanalyst recruited to be the President’s personal shrink by one of his patients (Godfrey Cambridge, in a wonderful performance).  Cambridge is an operative for the “C.I.E.” The ensuing intrigue and conspiracy paranoia plays like Three Days of the Condor on acid (literally, in one memorable sequence).

Granted, it’s a tad silly and “slapstick-y” at times, but the socio-political satire is consistently on point (at times recalling Dr. Strangelove, particularly in one scene where a character is desperately trying to reach the White House on a pay phone). “Summer of Love” trappings aside, the film is quite prescient and bold for its time (e.g. consider Cambridge’s stark monologue recalling his first encounter with racism, played directly to the camera; nothing “ha-ha” funny going on there.)

Also with Joan Delaney, Severn Darden, Pat Harrington, Jr., Walter Burke (stealing all his scenes as an officious “F.B.R.” agent), Will Geer, William Daniels, and Arte Johnson. Look for Barry Maguire (who sang the 60s classic “Eve of Destruction”) as the leader of a band of hippies Coburn hooks up with while he’s on the run from an assortment of nefarious parties.

Kino’s Blu-ray is light on extras (just two commentary tracks), but the 4K scan is a definite step up from the previous Paramount DVD. A must-have for “Conspiracy a Go-go” fans!

Blu-ray reissue: Peeping Tom (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2024)

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Peeping Tom (The Criterion Collection)

Michael Powell’s 1960 thriller profiles an insular, socially awkward member of a film crew (Carl Boehm) who works as a technician at a movie studio by day, and moonlights as a soft-core pin-up photographer. He’s also surreptitiously working on his own independent film, which goes hand-in-glove with another hobby: he’s a serial killer who gets his jollies capturing POV footage of his victim’s final agonizing moments. The film is truly creepy, a Freudian nightmare. The solid supporting cast includes Moira Shearer, Anna Massey, and Maxine Audley.

Powell, one-half of the revered British film making team known as The Archers (The Red Shoes, Black Narcissus, The Life and Death of Colonel Blimp) nearly destroyed his career with this one, which, due to its “shocking” nature, was largely shunned by audiences and critics at the time (thanks to Martin Scorsese, the film enjoyed a revival decades later and is now considered a genre classic on a par with Psycho). Leo Marks scripted (he also wrote the screenplays for the 1951 noir Cloudburst and the unsettling 1968 thriller Twisted Nerve).

Several subsequent films can be viewed as descendants of Peeping Tom; most notably Manhunter (1986), Henry: Portrait of a Serial Killer (1986), and (more tangentially) Man Bites Dog (1992).

Criteron’s new 4K digital restoration is top-flight, a substantial upgrade over the 2010 Studio Canal (Region B) Blu-ray. Extras include two commentary tracks (one with film historian Ian Christie and another with film scholar Laura Mulvey), a documentary about the history of the film, and more.

Of Yak Dung and Trump’s Tongue

By Dennis Hartley

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“Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known.” – from The Manchurian Candidate (1962)

“[Donald Trump is] a husband, a father, a grandfather and a friend to a lot of people. When you see that happen to him, and I was standing right next to him today, it’s heartbreaking.” -Donald Trump’s defense attorney, reacting to his client’s conviction on 34 felony counts this past Thursday

To quote The Giant in Twin Peaks, “It is happening again.”

Embracing Donald Trump’s strategy of blaming the U.S. justice system after his historic guilty verdict, Republicans in Congress are fervently enlisting themselves in his campaign of vengeance and political retribution in the GOP bid to reclaim the White House.

Almost no Republican official has stood up to suggest Trump should not be the party’s presidential candidate for the November election — in fact, some have sought to hasten his nomination. Few others dared to defend the legitimacy of the New York state court that heard the hush money case against the former president, or the 12 jurors who unanimously rendered their verdict.

In fact, any Republicans who expressed doubts about Trump’s innocence or political viability, including his former hawkish national security adviser John Bolton or top-tier Senate candidate Larry Hogan, were instantly bullied by the former president’s enforcers and told to “leave the party.” […]

The swift, strident and deepening commitment to Trump despite his felony conviction shows how fully Republican leaders and lawmakers have been infused with his unfounded grievances of a “rigged” system and dangerous conspiracies of “weaponized” government into their own attacks on President Joe Biden and the Democrats. […]

At his Trump Tower on Friday in New York, the former president returned to the kinds of attacks he has repeatedly lodged in campaign speeches, portraying Biden as the one who is a “corrupt” and the U.S. as a “fascist” nation.

Trump called the members of the bipartisan House committee that investigated the Jan. 6 attack on the U.S. Capitol “thugs” and said Biden was a “Manchurian candidate,” a phrase inspired by the 1960s movie portraying a puppet of a U.S. political enemy.

It should be noted that Mr. Trump did not elaborate any further on the movie reference, to which my reaction was, “Wait…what? Biden is a ‘Manchurian candidate’?!” This unqualified analogy immediately struck me as textbook projection; and there’s at least one noted presidential historian who concurs:

If there is one thing that all historians can agree on, it’s that history is cyclical. Which is why this seemed like a good week to re-post one of my old pieces that is suddenly new again…

(Originally posted on Digby’s Hullabaloo on  March 19, 2016)

Synchronicity: Criterion reissues The Manchurian Candidate

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Would I block you? I would spend every cent I own, and all I could borrow, to block you. There are people who think of Johnny as a clown and a buffoon, but I do not. I despise John Iselin and everything that Iselinism has come to stand for. I think, if John Iselin were a paid Soviet agent, he could not do more to harm this country than he’s doing now.

 –from The Manchurian Candidate (1962)

That’s Senator Thomas Jordan (John McGiver), in response to Mrs. Eleanor Shaw Iselin (Angela Lansbury), the wife and political handler of Senator John Yerkes Iselin (James Gregory), who has just asked him if he would have any objection if her McCarthy-esque husband’s name were to be “put forward” at an upcoming political convention.

Thank god that’s from a movie, because, well…could you imagine what kind of chaos would ensue in this country if someone who is widely perceived as a “clown and buffoon” were somehow jockeyed into a position of high office…perhaps even the highest office? I mean, that’s purely something that could “only happen in the movies”, amirite? Anyone?

Here’s what I know. Donald Trump is a phony, a fraud. His promises are as worthless as a degree from Trump University. He’s playing the members of the American public for suckers. He gets a free ride to the White House and all we get is a lousy hat. His domestic policies would lead to recession. His foreign policies would make America and the world less safe. He has neither the temperament nor the judgment to be president and his personal qualities would mean that America would cease to be a shining city on a hill.

-from Mitt Romney’s recent speech regarding Donald Trump’s bid for the presidency

Who said that? Mitt Romney? Really? He denounced his own party’s steamrolling frontrunner in the race for the Republican presidential nominee? I suppose I see some parallels between Donald Trump and the fictional Senator Iselin, but let’s keep this in mind…director John Frankenheimer’s Cold War thriller was made 54 years ago. And the story itself is set in the early 1950s, at the height of the Red Scare.

Those were different times! Back then, the political climate was informed by fear and paranoia. You actually had politicians publicly calling each other commies, fergawdsakes. What is that line in the film, where Senator Jordan is explaining to Senator Iselin’s stepson Raymond Shaw (Laurence Harvey) the chief reasons for the political enmity between himself and the insufferable tag team of Raymond’s Red-baiting stepfather and control freak mother…?

One of your mother’s more endearing traits is her tendency to refer to anyone who disagrees with her about anything as a communist.

Yes, that was it. See? That was then, but this is now. Donald Trump doesn’t go that far.

Republican presidential front-runner Donald Trump on Saturday blamed supporters of Democratic candidate Bernie Sanders for protests that shut down his Chicago rally, calling the U.S. senator from Vermont “our communist friend”.

-from The Raw Story (March 12)

Oh. But, in the film, it’s the candidate’s wife who is described as a Red-baiter, so let’s not get carried away. Because if that were the case, this would be getting downright spooky.

[Bernie] Sanders is a communist. I was born in a communist country, so I know when I see them or hear them.

-Donald Trump’s ex-wife Ivana (from Page Six, March 15)

All right…now it’s getting downright spooky.

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Speaking of “spooky”, in January of 2011, in my armchair psychologist’s attempt to answer “Why?” regarding yet another mass shooting, I explored the pathology of the perversely “All-American” phenomenon known as the “lone gunman” via what morphed into a rather wordy genre study.

In the piece, I posed some questions. What is the motivation? Madness? Political beef? A cry for attention? What is to blame? Society? Demagoguery? Legislative torpor? The internet? Then, prompted by last year’s horrible Charleston church shooting, I felt compelled to republish a revised version of that piece.

In the intro to that revised posting, I noted an unsettling similarity between something Republican presidential hopeful Donald Trump said in his official campaign kickoff speech to what the Charleston shooter had allegedly said to his victims just one day later:

“When Mexico sends its people (to America), they are not sending their best… (Mexican immigrants) are bringing drugs and they are bringing crime, and they’re rapists.” 

-from Donald Trump’s speech announcing his presidential bid, June 16, 2015

“(African-Americans) rape our women and you’re taking over our country.”

-Charleston shooter’s statement to his victims before opening fire, June 17, 2015

Was it coincidence, or was it cause-and-effect? I drew no conclusions then, nor do I now. At any rate, my point is…one of the films I analyzed in the post was The Manchurian Candidate, which is now available in a newly restored 4K Blu-ray edition from Criterion.

The story is set after the Korean War. Frank Sinatra stars as former POW Major Bennett Marco. Marco and his platoon were captured by the Soviets and transported to Manchuria for a period, then released. As a consequence, Marco suffers from (what we would now call) PTSD, in the form of recurring nightmares.

Marco’s memories of the captivity are hazy; but he suspects his dreams hold the key. His suspicions are confirmed when he hears from several fellow POWs, who all share very  specific and disconcerting details in their dreams involving the platoon’s sergeant, Raymond Shaw. As the mystery unfolds, a byzantine conspiracy is uncovered, involving brainwashing, subterfuge and assassination.

I’ve watched this film maybe 9 or 10 times over the years, and I must say that it’s held up remarkably well, despite a few dated trappings. It works on a number of levels; as a conspiracy thriller, political satire, and a perverse family melodrama. Interestingly, each time I revisit, it strikes me more and more as a black comedy; which could be attributable to its prescient nature (perhaps the political reality has finally caught up with its more far-fetched elements…which now makes it a closer cousin to Dr. Strangelove and Network).

Indeed, I found myself laughing out loud at lines like “Yak dung…tastes good, like a cigarette should!” and “…having been relieved of those uniquely American symptoms of guilt and fear, he cannot possibly give himself away” (both delivered by scene-stealer Khigh Dhiegh, as the droll Manchurian brainwashing expert). Sinatra is assigned one of the most quotable lines: “Mr. Secretary-I’m kinda new at this job, but I don’t think it’s good public relations to talk that way to a United States senator…even if he is an idiot.” The intelligent screenplay was adapted from Richard Condon’s novel by George Axelrod.

Good performances abound, but Lansbury is the standout, with a magnificent turn as one of cinema’s greatest heavies. Harvey is heartbreaking as the tortured Raymond. Sinatra is, well, Sinatra (i.e. uneven). It’s been well-documented that he was never a fan of doing multiple takes; frankly it shows and works against him here, particularly whenever he lapses into that Rat Pack patois (he recounts a dream as “one swinger of a nightmare”). It’s not enough to sink the film, but those moments do take Sinatra out of his character.

As usual, Criterion packs in some worthwhile extras. They port over the 1997 commentary track by the director that was done for the original MGM DVD release, as well as an 8-minute round-table between Frankenheimer, screenwriter Axelrod and Sinatra that was recorded in 1987.

New supplements exclusive to this edition include a recent 11-minute interview with Lansbury (engaging as ever at 89), a 21-minute interview with historian Susan Carruthers, and an enlightening 16-minute appreciation by documentary filmmaker Errol Morris, who gleans a few subtexts I’ve never picked up on.

That’s one mark of a truly great film-the more times you watch it, the more you’ll see.

Previous posts with related themes:

They Can Always Get Him on Tax Evasion

On Mad Kings, Death Cults, and Altman’s Secret Honor

A Sad Sequel: The American Assassin on Film II

Plus ca change: Criterion Reissues Dr. Strangelove

Blu-ray reissue: He Walked By Night (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 24, 2024)

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He Walked By Night (KL Studio Classics)

This tight 1948 police procedural from Alfred L. Werker (with  uncredited co-direction by noir stalwart Anthony Mann) was based on a case taken directly from the LAPD’s files. Richard Basehart stars as a psychopathic serial thief-turned cop killer who utilizes his expertise with electronics to repeatedly elude capture by law enforcement.

One of the earliest noirs to take a semi-documentary approach in order to inject an air of realism to the story.  Jack Webb (who plays the police department’s electronics expert in the film) was obviously taking notes, as that became the model for his future Dragnet TV series.

It’s also one of the first crime thrillers I’m aware of that plays to the gear heads in the audience; there’s lots of demonstrative tinkering with (then) state of the art electronic equipment (I see it as presaging The Conversation in this regard).

While the story is absorbing, the real star of this film is its cinematographer, the great John Alton. There are a number of stunning visual set pieces; particularly a climactic pursuit through L.A.’s underground tunnel system (it’s worth noting that this film was released a year before The Third Man).

Alton’s photography really pops in Kino Lorber’s absolutely gorgeous Blu-ray transfer, which is taken from a 16bit 4K scan of the 35mm fine grain. Extras include a new commentary track by film historian Imogen Sara Smith, and audio commentary by author/film historian Alan K. Rode and writer/film historian Julie Kirgo. This one is a must-have for noir aficionados.

Blu-ray reissue: Gothic (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 24, 2024)

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Gothic (BFI; Region ‘B’ locked)

OK, full disclosure. In my 2012 review of Guy Maddin’s Keyhole, I wrote:

[Keyhole is} Reminiscent of Ken Russell’s Gothic, another metaphorical long day’s journey into night via the labyrinth of an old dark house. And, like Russell’s film, Maddin’s is visually intoxicating, but ultimately undermined by an overdose of art house pretension and self-indulgent excess.

One might read that and glean that I was underwhelmed by Ken Russell’s 1987 drama. At the time, perhaps I was. But I reserve the right to occasionally change my appraisal of a film…especially when it comes to certain filmmakers like, well, Ken Russell for instance (David Lynch comes to mind as well). Sometimes, you are not in the “right” receptive mood for a  specific filmmaker’s uh, aesthetic. Upon a repeat viewing or two, some films will sort of…grow on you.

At any rate, this “metaphorical long day’s journey into night via the labyrinth of an old dark house” has grown on me; particularly as a fascinating treatise on one of life’s greatest mysteries: where does creativity come from? In this case, what “inspired” Mary Shelley (Natasha Richardson) to create her classic novel Frankenstein?

Russell’s speculative history tale suggests that “the Creature” was born during the course of a wild weekend at the country estate of Lord Byron (Gabriel Byrne). Byron invites Mary Shelly and her famous poet husband Percy (Julian Sands) for a sleepover that turns into a druggy, debauched night of “horror” (whether real or imagined is  left up to the viewer). Kinetic performances all round from a cast that includes Timothy Spall and Myriam Syr.  Stephen Volk wrote the screenplay; the music is by Thomas Dolby. There was added poignancy to my recent viewing, in light of Julian Sands’ tragic passing last year (Natasha Richardson also left us much too soon).

BFI has assembled an extensive package, starting with a sparkling transfer that nicely highlights DP Mike Southon’s vivid photography and Michael Buchanan’s lush art direction (his resume includes Orlando and The Krays).  There’s a heap of extras, including a full-length 83-minute 2002 video work by the director called The Fall of the Louse of Usher (starring  Russell and his wife Lisi) and a rare 27-minute Russell short from 1957 called Amelia and the Angel.

(Note: This is a Region ‘B’ disc, requiring an all-region player).