Blu-Ray review of old yet very renowned movies are discussed here in this article. Several talented directors’ movies are listed below. Follow up through till the end.
Karel Zeman was a Czech film director and animator known for his innovative combination of live-action and animation in films such as “The Fabulous World of Jules Verne” and “The Fabulous Baron Munchausen.”
Julien Duvivier was a prominent French film director known for his versatile filmmaking across multiple genres.
His career spanned both the silent and sound eras, and he is celebrated for films like “Pépé le Moko,” “La Belle Équipe,” and “Sous le ciel de Paris.”
Hong Sangsoo is a South Korean film director and screenwriter recognized for his distinct approach to storytelling and character-driven narratives.
With a prolific body of work including “The Day He Arrives,” “Right Now, Wrong Then,” and “On the Beach at Night Alone,”.
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Blu-Ray Review: Invention for Destruction (Vynález zkázy, 1958) Second Run
Following the stunning Blu-ray release of “The Fabulous Baron Munchausen,” my anticipation for more Karel Zeman brilliance from Second Run was quickly rewarded.
“Invention for Destruction,” also known as “The Fabulous World of Jules Verne” in the US, is as groundbreaking for black-and-white animation on Blu-ray as Munchausen was for color.
Karel Zeman’s meticulous effort to emulate the line engravings found in Jules Verne’s novels is evident in every costume, prop, and set piece, resulting in a visual marvel that seamlessly blends live-action and animation.
Zeman’s mastery of hyper-artificiality shines through in each frame, creating a breathtaking spectacle.
The adventure tale, centered around a professor’s explosive invention falling into the hands of an evil genius with sinister plans, can be interpreted as a cautionary tale in the nuclear era.
Despite the film’s emphasis on the varying nature of scientific progress, its inspiration from Verne imparts a charming quaintness, distancing it from atomic-age paranoia.
The plot’s outcome may be predictable, with hero Simon Hart and his companion Jana overcoming villains to save the day.
Still, Zeman’s innovative use of cutouts, stop-motion, live-action, and processed stock footage creates a world where virtually anything seems possible.
Second Run’s Blu-ray edition, sourced from a newly restored 4K version of the film, showcases a stunning 1080p, 1.37:1 image that is truly breathtaking.
The level of detail in Karel Zeman’s animation is so intricate that even DVD resolution would be insufficient, a fact highlighted by director John Stevenson in his disc appreciation, where he recalls the inadequacy of VHS quality.
The fine details are rendered with striking clarity, grayscale separation is exquisite, and nearly all damage has been effectively eliminated.
The uncompressed 2.0 mono audio is pristine and clear.
The Blu-ray comes with an impressive array of bonus features.
In addition to the interview with director John Stevenson, viewers can enjoy two Zeman stop-motion shorts: the whimsical yet dark “King Lavra” and the more experimental “Inspiration,” showcasing beautiful handmade craft.
Although both films are unrestored, they remain in decent condition. The package also includes archival making-of featurettes, a restoration demonstration, and a booklet featuring an essay by critic James Oliver.
Panique (1946) Criterion Collection
Julien Duvivier’s condemnation of mob mentality in the climax of “Panique” is anything but subtle, as the entire population of a Paris suburb turns against one man.
However, in his initial film after departing Hollywood, Duvivier justifies the intensity by skillfully heightening the tension in this noir-influenced thriller.
Beneath the surface of each encounter lies a mix of bloodlust and primal desire, leaving viewers uncertain about the true nature of the protagonist, Monsieur Hire (played by Michel Simon, delivering a wonderfully eccentric performance).
A loner who rejects social norms, Hire engages in peculiar behavior, such as asking the butcher for a bloodier cut of meat, attracting whispers wherever he goes.
Despite the negative attention and the discovery of a murder in his quiet town, Hire remains unfazed.
However, his composure is tested when he encounters Alice (Viviane Romance), a woman who moves across the street.
What begins as voyeuristic curiosity surprisingly transforms into romance.
Yet, the plot thickens as Alice, recently released from prison for her criminal boyfriend Alfred (Paul Bernard), manipulates Hire, a man engaged in running threadbare scams as a supposed spiritualist named Dr. Varga.
The elusive nature of Hire’s true identity and the film’s exceptional camerawork featuring penetrating close-ups and elegant crane shots create a compelling portrayal of moral decay beneath a facade of everyday life.
Noir elements, like a shadowy carnival, feel rejuvenated. Against the backdrop of France’s post-occupation era, Duvivier’s disdain for mindless mass hysteria is forcefully delivered.
Following the film’s murky and moody atmosphere, the ending becomes even more stark and impactful in contrast.
Criterion delivers “Panique” with a 1080p, 1.37:1 transfer sourced from a new 2K restoration. Overall, the black-and-white transfer is exceptional, providing a detailed and clean image.
The film predominantly utilizes a grayscale palette without deep blacks or bright whites but maintains consistent tones.
While there are minor density fluctuations, damage has been effectively minimized. The uncompressed mono soundtrack is high quality, with only a faint hint of hiss.
The extras on the Criterion release are noteworthy, including a captivating and informative feature on the art of subtitling by Rialto founder Bruce Goldstein.
This supplement compares various translations over the years, offering insights into the subtleties of subtitling, including those specific to “Panique.”
Additionally, there is a new interview with Pierre Simenon, son of the author Georges Simenon, who penned the source novel.
The French release includes a discussion about the film between critics Guillemette Odicino and Eric Libiot.
The re-release trailer and an insert containing essays by James Quandt and Lenny Borger, the latter responsible for the new subtitles, complement the package.
Claire’s Camera (2017) Cinema Guild
Recently, it seems that fully grasping the depth of Hong Sangsoo’s films necessitates some background knowledge about the filmmaker, particularly about his more recent works that delve into the consequences of infidelity and feature Kim Minhee, with whom Hong had a real-life affair.
The first installment of this informal trilogy, “On the Beach at Night Alone,” explores the profound and lingering aftermath of the illicit relationship and is available on a quality Blu-ray from Cinema Guild.
The second entry, “Claire’s Camera,” takes a different tone, providing a breezy yet thoughtful examination of the characters’ not-so-unchangeable life choices. (The third part, “The Day After,” is scheduled for a Blu-ray release from Cinema Guild next year.)
Isabelle Huppert’s delightful bewilderment reflects the film’s tone.
She portrays Claire, a teacher visiting Cannes, who engages in separate conversations with a pair, film director So Wansoo (Jung Jinyoung), and Manhee (Kim).
Claire, armed with her mini Polaroid camera, offers to take their picture, acting as both an external observer encountering these individuals during challenging moments and an agent of change.
As Claire strolls through the quiet town with Manhee, the film itself starts to fracture in unconventional ways.
Claire’s encouragement to view things differently applies not only to the characters but also to the film.
Which functions as a subdued observational comedy about a budding friendship and approaches something akin to a time-travel thriller.
The Blu-ray from Cinema Guild presents a satisfactory 1080p, 1.85:1 image that aptly captures the clarity of digital photography.
The inclusion of a 5.1 DTS-HD Master Audio soundtrack, while dialogue-heavy, surpasses the film’s requirements.
Supplementary features encompass a Q&A session with Hong from the New York Film Festival, a trailer, and an insert containing “reflections” by Claire Denis, where reflections take the form of a witty poem.
Gosford Park (2001) Arrow Academy
Robert Altman defies the conventional need for 13 episodes to weave many stories in “Gosford Park.”
In this overlooked masterpiece, Altman’s prowess in visual storytelling takes center stage in an upstairs-downstairs murder mystery, where a plethora of characters undergo meaningful arcs in just over two hours.
Julian Fellowes, the writer, would later achieve greater fame with “Downton Abbey,” initially conceived as a spinoff of “Gosford Park.”
In an era dominated by episodic storytelling, revisiting this beautifully self-contained work is gratifying.
Altman, known for his affinity for the roaming camera, fully embraces the concept in “Gosford Park,” employing a continuous flow of graceful Steadicam shots.
The camera, always in motion, subtly observes the interactions of wealthy guests at an English country home and the underlying resentments and secrets among the cadre of servants below.
The McCordles play hosts, with guests including American film producer Morris Weissman (Bob Balaban, who co-conceived the project with Altman), actor Ivor Novello (Jeremy Northam), and the imperious Lady Trentham (Maggie Smith).
Lady Trentham’s demands place a considerable burden on her servant Mary (Kelly Macdonald), who discovers common ground with fellow members of the serving class portrayed by a stellar cast including Clive Owen, Emily Watson, Alan Bates, Helen Mirren, and Eileen Atkins.
Ryan Phillippe also makes an appearance, and his poorly executed Scottish accent, fortunately, turns out to be justified within the narrative.
His amusing claim of being known in Hollywood for discretion adds to the film’s collection of cleverly funny lines.
As the murder-mystery element unfolds, heavily hinted at by Weissman’s upcoming Charlie Chan film centered around a countryside murder, the film is already rich with intriguing storylines.
To the credit of Fellowes and Altman, the murder plot serves more as a diversion, setting the stage for the film’s true central revelation.
It also introduces Stephen Fry as a brilliantly foolish inspector, injecting overt comedy into a film with a generally dry tone.
Without dwelling on the evident class tensions, such as the dehumanizing practice of servants adopting their employers’ names, Fellowes and Altman create ample space for the emergence of each character’s flaws and desires. The film’s camera could linger longer on anyone, making them a credible protagonist.
Arrow’s Blu-ray, offering a 1080p, 2.35:1 transfer sourced from a new 2K restoration of a 4K scan, stands out as a remarkable restoration for a film that has suffered on home video.
While an earlier Canadian Blu-ray was subpar, this transfer handles the potentially grainy and sad film with delicate precision.
Even in exterior shots with heavy grain, the film maintains a natural appearance without excessive noise, and the subtle nuances of light and shadow in predominantly interior scenes do not compromise detail.
Although the color palette may lack vibrancy, the overall visual presentation is excellent.
The disc provides options for DTS-HD Master Audio 5.1 and LPCM 2.0 sound mixes, both adept at managing the film’s overlapping dialogue and dynamic activity.
The extras include three audio commentaries: one from the archival Altman (with production designer Stephen Altman and producer David Levy), another from Fellowes, and a new track featuring critics Geoff Andrew and David Thompson.
Additional content comprises new interviews with executive producer Jane Barclay and actor Natasha Wightman, as well as archival featurettes about the film’s production and a post-screening Q&A.
Unrestored deleted scenes, lasting 20 minutes and with optional Altman commentary and a trailer, complete the comprehensive set of supplements.
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