HomeReviewsBlu-ray Review Round-Up: Films by Robert Bresson, Karel Zeman, the Coen Brothers...

Blu-ray Review Round-Up: Films by Robert Bresson, Karel Zeman, the Coen Brothers & more!

A few individuals stand out as remarkable examples of unique artistic vision and narrative skill during the massive artwork of cinema. We will explore and do a Blu-ray Review of some remarkable iconic movies in the film industry.

Renowned for his minimalistic approach and spiritual themes, Robert Bresson stands as a cinematic maestro who redefined the language of film.

From his early works like “Pickpocket” to the later masterpieces such as “Au Hasard Balthazar” and “Mouchette.

Meticulous craftsmanship, evocative performances, and a deep exploration of human nature characterize Bresson’s films.

Karel Zeman, a visionary in the realm of animation and fantasy cinema, crafted whimsical worlds that continue to captivate audiences of all ages.

With groundbreaking techniques and a boundless imagination, Zeman brought to life enchanting tales in films like “Journey to the Beginning of Time” and “The Fabulous World of Jules Verne.”

Joel and Ethan Coen, collectively known as the Coen Brothers, have carved a niche for themselves with their distinctive blend of dark comedy, quirky characters, and unparalleled storytelling.

From the iconic “Fargo” to the thought-provoking “No Country for Old Men” and the irreverent “The Big Lebowski,” the Coen Brothers have navigated diverse genres while maintaining a signature style.

Take a cinematic journey with us as we explore the stories of these incredible directors, each of whom adds a unique chapter to the rich history of global cinema.

Also Read More: Jerry Lewis: An Appreciation in Three Films

Blu-Ray Review: Barton Fink Kino Lorber Studio Classics

The highly anticipated Region, A Blu-ray upgrade of “Barton Fink,” has finally graced cinephiles, courtesy of Kino’s Studio Classics line, completing the high-definition offerings for the Coen Brothers’ features in this region.

A notable exception remains “The Ladykillers,” a film often considered their weakest, making its absence from the Blu-ray realm less lamentable.

Positioned as one of the Coen Brothers’ earliest triumphs, “Barton Fink” foreshadows several recurring themes and preoccupations that would echo through their later works.

Serving as a precursor to the Hollywood satire of “Hail, Caesar!” and the contemplation of artistic frustration seen in “Inside Llewyn Davis,” its most direct descendant appears to be the Coens’ true masterpiece, “A Serious Man.”

Barton Fink
Barton Fink

The film echoes a vision of a man trapped in limbo on Earth, urging him to “accept the mystery.”

This acceptance of the mysterious becomes paramount in enjoying “Barton Fink,” marking the first instance where the Coen Brothers operate on a profound, metaphysical level.

John Turturro’s mesmerizing portrayal of Barton, a New York playwright reluctantly navigating the Hollywood screenwriting scene, is captivating and enigmatic.

Barton’s disconnect between grand pronouncements and actions serves as literary irony, masterfully transformed by the Coens into a blend of fast-paced screwball antics, existential dread, and genuine physical terror.

This cinematic rollercoaster culminates in the brothers’ signature bemused non-sequitur ending. Embrace the mystery.

While “Barton Fink” has seen various Blu-ray releases in Europe, Kino’s offering, sourced from Fox, provides a welcomed upgrade without the heavy-handed digital manipulation present in some previous versions.

The 1080p, 1.66:1 transfer, though somewhat dated with occasional speckling, marks a noticeable improvement with reasonable detail, stable colors, and resolved film grain.

The 2.0 DTS-HD Master Audio soundtrack complements the film’s sound design with finesse.

Kino’s Blu-ray release includes a supplement package akin to what Criterion might have offered.

Four new interviews feature John Turturro sharing personal anecdotes and a lively interview with Michael Lerner.

Producer Ben Barenholtz and a featurette on the film’s sound, with composer Carter Burwell and sound editor Skip Lievsay, add valuable insights.

Additionally, eight deleted/extended scenes and the theatrical trailer are carried over from the DVD, rounding out a comprehensive package for fans of this Coen Brothers classic.

L’Argent The Criterion Collection

The cinematic curtain call for Robert Bresson, “L’Argent,” stands as a final masterpiece, encapsulating the director’s tightly focused career.

In the tradition of filmmakers delivering profound parting blows, Bresson’s film leaves an indelible mark, haunting viewers with its disquieting narrative.

“L’Argent” subtly immerses emotions in the Bressonian manner, imprinting its mysteries on the audience’s psyche, akin to the impact felt in the director’s earlier work, “Lancelot du Lac.”

As explored in Adrian Martin’s insightful essay accompanying Criterion’s new Blu-ray release, “L’Argent” finds Bresson once again employing genre elements, much like in “Pickpocket” and “A Man Escaped.”

The narrative unfolds with a butterfly effect, tracing the consequences of schoolchildren passing counterfeit currency, a seemingly innocuous act leading to a chain of events culminating in robbery and murder.

Initially propelled by a swift succession of incidents, the film gradually elongates its moments, navigating the erratic nature of modern life.

The final sequence, where Yvon (Christian Patey) encounters a woman (Sylvie Van den Elsen) whose kindness reveals shades of resignation, sets the stage for an unsettling rhythmic finale.

Violence, pervasive yet often just outside the frame, shapes the film’s atmosphere.

It is exemplified in moments like a poignant scene involving a coffee cup and the concluding act of violence, stark in its inevitability yet devoid of graphic detail.

L’Argent
L’Argent

Criterion’s Blu-ray treatment, featuring a 1080p, 1.66:1 transfer sourced from a new 2K restoration, offers a visually rich experience despite concerns about color timing, leaning towards a yellowish/teal-ish palette.

The restoration’s exceptional quality manifests in detailed images and well-rendered film grain. The 1.0 LPCM mono track seamlessly handles dialogue and music.

While extras are not abundant, the included footage from the contentious 1983 Cannes Film Festival press conference.

A visual essay by James Quandt, offering an insightful analysis of Bresson’s traits, is a valuable addition.

The theatrical trailer, showcasing shots of ATMs dispensing money, rounds out the collection.

The accompanying booklet, featuring Adrian Martin’s essay and a 1983 interview with Bresson by Michel Ciment, adds depth to the Criterion release.

Providing cinephiles with a comprehensive exploration of this culminating work in Bresson’s illustrious career.

The Fabulous Baron Munchausen (Baron Prášil) Second Run

For those seeking a cinematic journey into the unknown, Second Run’s Blu-ray release of Czech filmmaker Karel Zeman’s The Fabulous Baron Munchausen proves to be an enchanting starting point.

Nestled within the intersection of tactile fantasy epitomized by Georges Méliès, the imaginative flair of Ray Harryhausen, the grandiosity of Alexander Korda’s The Thief of Bagdad, the surrealism of Terry Gilliam.

Zeman’s technical wizardry in this animation/live-action hybrid is a spectacle.

Using elaborate cutouts adds spatial depth, while the animation oscillates between whimsy and a touch of the uncanny, akin to Gilliam’s distinctive style.

Beyond its technical prowess, every frame of Baron Munchausen pulsates with emotion and a distinct sense of place.

Experimental imagery occasionally punctuates the narrative, such as a maelstrom of angry reds portraying a scene of violence, showcasing Zeman’s exuberance in crafting these fantastical realms.

More than a technical marvel, The Fabulous Baron Munchausen is a testament to Zeman’s creative passion.

The film’s narrative, an adventurous journey from the moon to a Turkish kingdom and the ocean’s depths unfolds as the affably pompous Munchausen (Miloš Kopecký) mistakes an astronaut (Rudolf Jelínek) for a moon resident and offers him an Earthly tour.

The Fabulous Baron Munchausen (Baron Prášil)
The Fabulous Baron Munchausen (Baron Prášil)

Amid encounters with hostile forces like a sultan and a massive fish, Munchausen’s main quest is to win the heart of a princess (Jana Brejchová) from the astronaut.

Zeman portrays Munchausen as somewhat delusional yet well-intentioned, infusing the film with a tone that balances dry satire, flights of fancy, and romanticism in a unique and captivating manner.

Second Run’s region-free Blu-ray, sourced from a new 4K restoration, showcases a stunning 1080p, 1.37:1 transfer.

The colors, including burnished gold and rich blues, appear mesmerizing, highlighting the meticulous detail in Zeman’s work. The 2.0 mono LPCM soundtrack ensures clean and precise audio.

Who’s Crazy? Kino Lorber

The pull quote featured on Kino’s recently released Blu-ray of the 1966 film “Who’s Crazy?” describes it as “almost Dalí,” a characterization that might seem overly simplistic for most experimental films but gains credibility from Salvador Dalí himself.

Nevertheless, this comparison has a substantial gap, as “Who’s Crazy?” is not particularly surreal; instead, it unfolds as a highly disjointed narrative.

The movie, featuring members of New York’s respected Living Theatre, loosely connects sequences of anarchy as a group of mental hospital patients escapes their bus and seeks refuge in an empty farmhouse, leading to a power struggle.

Rather than a surreal experience, the film feels like observing a theater troupe organizing warm-up exercises around a vague recollection of “The Exterminating Angel.”

The only real parallel lies in the erratic behavior of a group trapped in a house with ample food, as seen in a scene featuring the extravagant cooking of numerous eggs.

The film exhibits moments of genuine energy and lethargy, a characteristic mirrored in the cinematography.

Director Thomas White, who never ventured into filmmaking again, employs a mix of New Wave-inspired zooms and jump cuts alongside seemingly haphazard medium shots.

The overall effect is intentionally messy.

The film benefits significantly from a remarkable score by Ornette Coleman, performed with drummer Charles Moffett and bassist David Izenzon.

This trio, known for their work on Coleman’s influential 1962 album “Town Hall,” infuses vital energy into the film.

Who’s Crazy
Who’s Crazy

Previously considered lost, “Who’s Crazy?” has now been released on an unlikely Blu-ray, sourced from a French print with burned-in French subtitles.

Despite noticeable imperfections like dropped frames and wear, the film remains watchable.

The grayscale image lacks detail, but given its origin, it’s acceptable.

The 2.0 DTS-HD Master Audio soundtrack, with persistent noise and reduced dynamic range, still serves as a decent platform for Coleman’s score.

Bonus features include a Q&A with White after a recent re-release screening at Lincoln Center, where he expresses surprise and gratitude for the film’s renewed attention.

Additionally, there’s a 1966 television episode featuring the Ornette Coleman Trio. A booklet essay by Adam Shatz provides valuable context on Coleman’s artistic endeavors during that period.

Terror in a Texas Town Arrow Video

The title doesn’t do any favors for Joseph H. Lewis’ “Terror in a Texas Town,” a stagnant western that appears to desire a plunge into pulpy territory but restrains itself.

The film’s setup holds a germ of structural ingenuity, initiating a climactic confrontation where one character’s monologue almost goads the viewer’s bloodlust.

However, the movie quickly settles into a more measured and straightforward approach.

Penned by Dalton Trumbo under a pseudonym, the film features Sterling Hayden as George Hansen, who discovers his father’s murder under mysterious circumstances.

The movie doesn’t dance around the details, straightforwardly revealing the nefarious McNeil’s (Sebastian Cabot) plot to force out landowners for oil, employing Johnny Crale (Nedrick Young) as his ruthless henchman.

Hansen’s father’s profession as a whaler seems to be the only relevant biographical detail, providing a rationale for Hayden’s character to wield a massive harpoon.

Like the title, this sets up expectations that the film doesn’t fully deliver. Arrow’s 1080p, 1.85:1 presentation, derived from a new 2K restoration, proves impressive, especially for a B-film.

Although stock footage inserts may show a slight softness, the rest is sharp and finely detailed.

Terror in a Texas Town
Terror in a Texas Town

The depth of the image remains consistently impressive, even during moments of damage.

The uncompressed 1.0 mono soundtrack is somewhat flat but lacks apparent issues.

The quality of Arrow’s release, bolstered by extras, adds value.

Scholar Peter Stanfield provides key extras, including an introduction that challenges the idea of Lewis as an auteur and provides context on the film’s connection to the HUAC blacklist controversy.

A visual essay explores Lewis’ visual strategy, characterized by Stanfield as deliberate but devoid of meaning. The package also includes a theatrical trailer.

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Ashish Dahal
Ashish Dahal
Ashish is a prolific content writer, blends with the creativity with precision in his writing. His work, characterized by clarity and engaging storytelling has gathered a loyal readership. His passion for words fuels his constant pursuit of excellence.

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    Ashish Dahal has combined his interests and content writing. Through his work, he showcases enthusiasm and ability to deliver captivating content consistently. Ashish's writing demonstrates his passion for storytelling and content creation.

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