HomeReviewsBlu-ray Review Round-Up: Films by Lina Wertmüller, James Whale, Jean-Luc Godard &...

Blu-ray Review Round-Up: Films by Lina Wertmüller, James Whale, Jean-Luc Godard & more!

Explore the Blu-ray Review of horror maestro directors movies. These directors have left an indelible mark on the world of cinema, each contributing unique visions that continue to inspire and influence filmmakers across generations.

Lina Wertmüller, James Whale, and Jean-Luc Godard, each a luminary in their own right, have significantly shaped the cinema landscape through their distinctive directorial prowess.

Lina Wertmüller, an Italian filmmaker, stands as a trailblazer, breaking barriers as the first woman ever nominated for an Academy Award for Best Director.

Her provocative and socially charged films, such as “Seven Beauties” and “Swept Away,” have left an indelible mark on cinema, challenging societal norms with their audacious narratives.

James Whale, the visionary director of the iconic “Frankenstein” and “Bride of Frankenstein,” is celebrated for his contributions to the horror genre during Hollywood’s golden age.

Jean-Luc Godard, a pioneer of the French New Wave, has consistently pushed the boundaries of cinematic expression with his avant-garde approach.

Renowned for classics like “Breathless” and “Contempt,” Godard’s work remains a testament to his rebellious spirit and profound impact on the evolution of filmmaking.

Together, these directors have crafted enduring cinematic legacies, enriching the art form with their unique perspectives and unwavering commitment to pushing creative boundaries.

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Blu-ray Review: Swept Away (1974)

Celebrated director Lina Wertmüller receives a significant home video upgrade courtesy of Kino’s latest Blu-ray releases, featuring her iconic films.

Previously releasing Wertmüller’s 1970s comedies, Kino now presents her two most renowned works along with two lesser-known films.

Swept Away
Swept Away

Demonstrating her mastery of visual comedy and a steadfast commitment to narratives intertwining s*x and politics, Wertmüller explores the complexities of sexual relationships within ostensibly humorous settings.

In “Swept Away,” the power dynamics between the fabulously wealthy Raffaella and outspoken Communist Gennarino evolve intriguingly when they find themselves stranded on a deserted island, challenging both characters and audience sympathies.

Seven Beauties (1975)

Seven Beauties amplifies the tonal flexibility, with Giannini starring as the lecherous Pasqualino, a man who domineers yet depends on his seven sisters, and who ends up conscripted into the army after murder and rape.

The film that earned Wertmüller her Oscar nomination, Seven Beauties is probably the only successful concentration camp comedy in existence.

Seven Beauties
Seven Beauties

as Pasqualino blunders himself into one, and then becomes convinced his only chance at survival is seducing Shirley Stoler’s commandant.

Unlike Roberto Benigni’s Life is Beautiful (1997), which used comedy in a concentration camp as a vehicle for bittersweet uplift, Wertmüller embraces the fundamental grotesquerie of the situation.

A forceful condemnation of bourgeois detachment braces the film’s hazy, nonlinear structure.

Summer Night (1986)

“Summer Night” emerges as the least compelling of the quartet, revisiting themes and scenarios from “Swept Away” but with diminishing returns.

The film often relies on repetitive jokes and excessive screaming, occasionally overshadowing its charms.

Mariangela Melato, reprising her role as a symbol of capitalism, injects some appeal, yet the film’s relentless rehashing of ideas dampens its overall impact.

Summer Night
Summer Night

The storyline involves Melato kidnapping an eco-terrorist, played by Michele Placido, for ransom on a private island, attempting to replicate the dynamics of “Swept Away” with mixed success.

Placido’s energy fails to match Melato’s, making their sexual attraction seem more obligatory than genuine.

Melato’s obliviousness to her co-conspirator’s feelings adds a consistent touch of amusement.

Ferdinando and Carolina (1999)

Ferdinando and Carolina refute any idea that Wertmüller’s talents were confined to her heyday in the 1970s, delivering an effervescent depiction of an 18th Century monarchy and a razor-sharp excoriation of the misogyny of its sexual hierarchy.

In Naples, King Ferdinando lies on his deathbed.

He escapes to his memories of his early days on the throne, when he (Sergio Assisi) wed an Austrian princess, Carolina (Gabriella Pession), in an arranged marriage.

Here, s*x is transactional, until it’s not. But any feeling of idyllic bliss is fleeting.

Wertmüller romps through a catalog of supporting characters and amusing scenarios here, her ever-curious roving camera sometimes only having a few moments to descend on a situation before moving on.

But the film never feels overloaded or dense; it’s a surprisingly substantial airy confection.

Though none of these transfers are promoted as being sourced from new restorations, this is an excellent batch of discs.

All of the 1080p transfers look quite nice despite some intermittent minor damage and some inherent softness.

The brilliant blues of the Mediterranean shine in Swept Away and Summer Night, while fine detail remains solid in the murky hues of Seven Beauties.

Ferdinando and Carolina
Ferdinando and Carolina

Images are generally clear and sharp, with unmanipulated grain structures and stable colors.

Audio, all in 2.0 DTS-HD Master Audio soundtracks, is rarely more than adequate, with some age-related harshness in older films.

Overall, these all make for excellent viewing experiences.

Extras are most abundant on the Swept Away disc, which includes an audio commentary by Valerio Ruiz, director of Behind the White Glasses, a Wertmüller doc Kino simultaneously released on DVD.

Both Swept Away and Seven Beauties feature an excerpt from that film and an interview with Amy Heckerling. Booklet essays are included with each disc.

Vampir Cuadecuc (1970) Second Run

While Jess Franco’s films aren’t typically associated with fear, Pere Portabella’s “Vampir Cuadecuc” stands out as a genuinely unsettling piece of abstract art created concurrently with Franco’s “Dracula,” featuring Christopher Lee.

Filmed on high-contrast 16mm black-and-white stock, the movie unfolds from alternate angles, sometimes revealing camera equipment, blurring the lines between fiction and reality.

Vampir Cuadecuc
Vampir Cuadecuc

Lee’s playful interactions with the camera take on an eerie quality, making the vampire character more mysterious and menacing.

Second Run’s Blu-ray release, featuring a solid 1080p transfer, offers an array of extras, including interviews and Portabella’s additional experimental shorts, making “Vampir” a captivating and multi-dimensional work.

Personal Shopper (2016) The Criterion Collection

Early in Kristen Stewart’s career, her exceptional acting skills became evident, with an ability to infuse small gestures with profound emotion.

Collaborating with Olivier Assayas in films like “Clouds of Sils Maria” and “Personal Shopper,” Stewart found a filmmaker who intuitively utilized her talents.

Personal Shopper
Personal Shopper

In “Personal Shopper,” she portrays an assistant navigating a mundane job and grappling with grief. Assayas explores modern alienation, and Stewart adeptly captures existential discomfort.

While slightly limited by the film’s muted aesthetic, Criterion’s Blu-ray transfer presents a fine viewing experience.

The immersive audio complements Stewart’s nuanced performance. Extras include insightful interviews with Assayas and Cannes press conference footage.

La Chinoise (1967)

Kino releases two pivotal transitional works by Jean-Luc Godard on Blu-ray, marking essential additions to the year’s standout discs.

These films, replacing the earlier lackluster Koch Lorber DVDs, were created during Godard’s involvement with the radical Dziga Vertov Group, reflecting his shift away from conventional narratives.

La Chinoise, a visually stunning piece, immerses viewers in the lives of students rejecting bourgeois values for Maoist ideals.

La Chinoise
La Chinoise

Godard’s portrayal remains enigmatic, leaving the characters’ reverence or ridicule open to interpretation.

Raoul Coutard’s vibrant cinematography, featuring Mao’s Little Red Book, enhances the film’s aesthetic brilliance.

Le Gai Savoir (1969)

In Le Gai Savoir, Godard focuses sharply on a darkened soundstage, where Léaud and Berto engage in discussions about the limitations of language and images.

Interwoven with scenes of political upheaval, pop culture, and Parisian life, the film serves as a persuasive essay advocating a “return to zero” in image-making, with political and artistic implications.

Godard seeks a fresh perspective on seeing and hearing, employing innovative methods to compel audiences to experience this transformation, a characteristic found in many of his films.

The 1080p, 1.37:1 transfers on the discs are outstanding, showcasing vibrant colors and exquisite film details.

Even in the predominantly shadowed scenes of Le Gai Savoir, the inky black levels remain impeccable.

Minor fluctuations in image density are attributed to the condition of the source materials.

The uncompressed 2.0 mono tracks intentionally incorporate some harshness to align with the films’ unconventional sound designs.

Le Gai Savoir
Le Gai Savoir

The inclusion of insightful extras enhances the appeal of the release.

Notably, audio commentaries by James Quandt on La Chinoise and Adrian Martin on Le Gai Savoir provide valuable contextual information and analyses of Godard’s political and visual objectives.

La Chinoise features five interview pieces with cast, crew, and film historian Antoine de Baecque, while Le Gai Savoir includes a brief video piece from Godard collaborator Fabrice Aragno.

Trailers and booklets containing essays by Richard Hell (on both films), Amy Taubin (La Chinoise), and Adam Nayman (Le Gai Savoir) contribute to the comprehensive package.

The Old Dark House (1932) Cohen Film Collection

While often categorized as a horror-comedy, James Whale’s pre-code film, The Old Dark House, appears more like a casual gathering where audiences can enjoy the company of characters.

Raymond Massey and Gloria Stuart’s witty couple, Charles Laughton’s self-deprecating character, and Melvyn Douglas’ charming flirt pursuing Lilian Bond’s chorus girl.

As a violent storm redirects their paths to the expansive Femm estate, where inhospitable hosts (Ernest Thesiger, Eva Moore) and a mute butler (Boris Karloff) create an ominous atmosphere, the film hints at menacing events.

Despite some foreboding occurrences, The Old Dark House, like many Gothic horror films, primarily focuses on mood, creating an ultimately carefree atmosphere.

The Cohen Blu-ray offers a 1080p, 1.37:1 transfer from a new 4K restoration, presenting an excellent overall look with a robust grain structure, stable image, and good detail and clarity.

The Old Dark House
The Old Dark House

Minor imperfections and fluctuations exist, and while black levels occasionally appear slightly washed out, grayscale separation is satisfactory.

The uncompressed 2.0 mono track, showing its age with some rough edges and slight hiss, remains serviceable.

Most extras are carried over from a previous release, featuring two commentary tracks with Stuart and Whale scholar James Curtis.

A vintage featurette by director Curtis Harrington highlights his love for the film and efforts to rescue it from obscurity.

This release introduces a new interview with Sara Karloff, Boris Karloff’s daughter, expressing her admiration for her father’s prolific career and the behind-the-scenes efforts in creating his iconic looks.

The package also includes a trailer and an insert featuring an interview with Harrington.

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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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