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World Cinema Paradise’s Best of Blu – 2014

Despite nearly everyone’s insistence (so it seems) that physical media is dead as a doornail, 2014 has, truly, been a remarkable year for home video, Blu-ray particularly. From an agonizingly slow start when the format was new, the flow of classic titles really exploded in the last year. It’s been hard to keep up with all of the terrific catalog titles, even if most are being sublicensed by the majors to boutique labels like Olive Films, Kino, and Twilight Time.

Region-free Blu-ray players have become an essential piece of hardware, with so many of the best titles emanating from the damndest places. For instance, some of the best ‘50s Hollywood Westerns and sci-fi pictures, for instance, are currently exclusively available from German labels. Further, video transfers and better extras from non-U.S. labels (Britain’s Arrow Films, for instance) are often far superior to their American counterparts. Sporadically, many French, Spanish, German, Italian, Indian, and other countries occasionally offer domestic Blu-rays of their country’s classic films with English subtitles.

But perhaps most exciting developments in the Blu-ray realm have been the growing list of classic 3-D titles and the continuing reemergence of long-lost Cinerama releases. These movies were next to impossible to see anywhere in the world at all. Today one can enjoy a very good approximation of what it was like for paying audiences when these movies were new, in the comfort of one’s own home. And that, folks, is simply amazing.

Narrowing a Best of Blu-ray list to only ten titles proved a daunting task. This is not a list of the greatest movies released in 2014 or even necessarily the greatest video transfers. In large part, however, it does take into consideration the work that went into reconstructing/restoring/presenting it (as opposed to simply releasing a preexisting video transfer), the “bang for the buck,” particularly in terms of the results versus the funds available to the label to do the work, and the creativity and ingenuity involved in the creation of extra features.

And away we go…

Day Earth Caught Fire

1. The Day the Earth Caught Fire (Val Guest, 1962)
This extremely smart and adult science fiction film seemed pretty good when for years it ran panned-and-scanned on commercial television, but the BFI’s outstanding Blu-ray offers a picture-perfect transfer of its extremely impressive ‘scope photography (and special tinting for its opening and closing reels), with audio far superior to Anchor Bay’s years-ago DVD release. All of the fine extras from that earlier release have been ported over, along with many fine new ones – look for Leo McKern, in one his last interviews, doing a hilarious imitation of star Edward Judd!

Mad World

2. It’s a Mad Mad Mad Mad World (Stanley Kramer, 1963)
Fans of Stanley Kramer’s all-star epic comedy have for years been clamoring for a reconstruction of this film’s short-lived original roadshow version. Criterion’s release reinstates nearly all of the lost footage, which subtly but effectively improves the film’s pacing, even with its longer running time, adding fine little bits of comedy long thought lost. The many fine extra features include 2014’s Audio Commentary Track of the Year, a deeply affectionate yet densely informative track that’s a real joy to listen to.

Werner Herzog

3. The Werner Herzog Collection (Werner Herzog, 1967-1987)
I envy those who’ll “blind-buy” this amazing collection of shorts and features, viewers unprepared for Herzog’s uniquely hypnotic, visionary films. If this set, well under $100 had included only Aguirre, the Wrath of God (1972), Nosferatu, the Vampire (1979), Fitzcarraldo (1982), and Cobra Verde (1987) it would have been worth every penny, but this boxed set includes scads more films and shorts, and hours-upon-hours of extra features content.

Seven Wonders

4. Seven Wonders of the World (Tay Garnett & Paul Mantz & Andrew Marton & Ted Tetzlaff & Walter Thompson, 1956)
David Strohmaier and his plucky band of restoration artists rescued three Cinerama titles from oblivion in 2014, the other two being Search for Paradise (1957) and Holiday in Spain (1960). Seven Wonders of the World is the best of the three, a visually spectacular tour around the globe chockfull of natural and man-made sights from a fascinating, singularly 1950s “Free World” perspective. More than any other movies from its time, the Cinerama format is the movie’s equivalent of a time machine, an experience not to be missed. Crammed with great extras.

Pit Stop

5. Pit Stop (Jack Hill, 1969)
Bonnie and Clyde and Easy Rider get all the praise, but Jack Hill’s movies of the 1960s and early ‘70s are in their own way just as revolutionary and innovative. Another gorgeous high-def transfer from Arrow Films, this is one of Jack Hill’s best (and frequently startling) films. Despite its ultra-low budget, this is a fascinating and smart little movie you’ll not want to pass up. As usual for Arrow, this is packed with creative extra features.

Planet of Vampires

6. Planet of the Vampires (Mario Bava, 1965)
Mario Bava’s enormously influential sci-fi horror film (Ever see Alien?) is an eye-popping parade of surrealistic sets, costumes, and special effects, but even in Bava’s home country the best anyone could come up with until was a widescreen DVD. Scorpion’s new Blu-ray rectifies all that, with a gorgeously, richly-colored transfer that at long-last does Bava’s vastly-underrated work justice. Add to that a densely packed, fact-filled and observant audio commentary by Bava authority Tim Lucas and you’ve got one of the year’s best releases.

Infero

7. Inferno (Roy Ward Baker, 1953)
This classical era 3-D production was initially released Region B only by British label Panamint Cinema but, almost under the radar, they’ve reissued it region-free. If you’ve got a 3-D set-up at home, this is one you’re going to want to get. A terrific desert noir, Inferno stars Robert Ryan as a wealthy, urban company president whose mettle is tested when his trophy wife and her secret lover abandon him (and his broken leg) in the middle of the desert, miles from civilization. Filmed in Technicolor (and thus requiring no less than six strips of 35mm film for each shot!) this release is a thing of stereoscopic beauty, perhaps the best-looking 1950s 3-D release on Blu-ray so far.

55 Days Blu

8. 55 Days at Peking (Nicholas Ray, 1963)
In this age of CGI excess, the gargantuan roadshows of producer Samuel Bronston seem downright tasteful and restrained now, and despite their occasional shortcomings remain intelligent, thoughtful, and undeniably awesome in their full-scale epicness. This one, set during the 1900 Boxer Rebellion, features an incredible reproduction of turn of the century Beijing, all built full-scale on the plains of Spain. On big home theater screens (I watched this on a 90-inch screen), the film’s grandeur is truly a sight to behold, especially via the picture’s stunning restoration from its original Super Technirama 70 negative.

Mack Sennett

9. The Mack Sennett Collection (various, 1909-1933) Flicker Alley; ALL
A revelatory set of rescued silent short subjects (plus a couple of feature) that demonstrate the incredible range not just of producer Sennett but also his company of comics, gag writers, and directors. Those whose image of Mack Sennett is limited to the Keystone Kops will be enormously surprised – and delighted – by the range of these delightful comedies. Many fine extras, including a genuinely touching This Is Your Life.

Price 2

10. The Vincent Price Collection, Volume 2 (various, 1958-1972)
A worthy follow-up to Shout! Factory’s Volume 1, this set – featuring House on Haunted Hill, Return of the Fly, The Raven, Comedy of Terrors, Tomb of Ligeia, The Last Man on Earth, and Dr. Phibes Rises Again. Most were licensed from MGM, but Shout! went the extra mile licensing and insuring good transfers of the Allied Artist Haunted Hill and Fox’s Return of the Fly, as well as locating and creating lots of good new supplements.

Some Honorable Mentions:

The Essential Jacques Demy, The Sicilian Clan, Gravity (3-D), Gulliver’s Travels, Godzilla vs. the Sea Monster, Tomorrow, Judex, Man Hunt, His and Hers, The Death Kiss, Dragonfly Squadron (3-D), The Bubble (3-D), Last of the Unjust, The Conformist, Judgment at Nuremberg, The Girl Hunters, The François Truffaut Collection.

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The ‘Star Wars’ Movie You Won’t Be Seeing Next Year

Star Wars fans are like Democrats. Hope springs eternal for another movie that’ll recapture the magic many of us experienced seeing the original film (Franklin Roosevelt) more than 37 years ago but, time and again, these hopes are senselessly dashed, from Return of the Jedi (Walter Mondale) to The Phantom Menace (Al Gore). And now they’re pinning their hopes on (what they perceive) as a visionary director, JJ Abrams (Barack Obama) to clean up the catastrophic mess left behind by George Lucas (George W. Bush). And just as the country remains fiercely divided about Obama’s legacy, with many of his supporters wanting so much to believe the state of the union has improved under his watch, so too will Abrams’s followers strain to find something good to say about his vision of Star Wars, regardless of how the film really turns out. Meanwhile others (Republican pundits) are already finding fault with absolutely everything in the new movie’s trailer, a full year before its official release.

It’s preordained that Star Wars: The Force Awakens (2015) will make a boatload of money, probably a billion dollars, even if it’s no damn good. It also seems likely that it will be at least a bit better than the woebegone prequel trilogy of the late 1990s-early 2000s, if only because it won’t be subjected to Lucas’s meddling mitts. But will it be any good? Like the Mel Brooks song, hope for the best, expect the worst.

Here’s why: Few seem to grasp, even now, even probably Abrams, the reasons the original Star Wars became the pop cultural icon it did. The other reason is that the movie marketplace has changed so dramatically since 1977 as to render another film like it highly improbable if not impossible.

When Star Wars was brand-new, I was a young lad of 11-12 years old and vividly recall the impact that first film had on ordinary, unsuspecting moviegoers. And it wasn’t just in terms of its startling and varied orgy of special effects, though they undeniably played a role. No, it was everything, the combined strengths of its ingenious synthesis of cinematic influences, the direction, cinematography, music, performances – everything, all accidentally perfectly timed for an audience primed for such an immensely joyful, even cathartic, movie-watching experience. It was a rare example (The Wizard of Oz and Casablanca being two others) of the accidental masterpiece, a movie that could easily have been terrible, but that, luck on its side, miraculously, perfectly fell into place at exactly the right time. You can also visit https://real-movies123.com/

Simply put, audiences were completely unprepared for what they saw. Remember, this was long before the Internet, cable television, the ability to watch movies anywhere at one’s convenience, and a time when pre-release hype was limited to little featurettes that occasionally ran as filler after network prime-time movie airings, or a star plugging his new movie on The Tonight Show. Star Wars appeared as if out of nowhere.

Few saw it opening day, as it opened on a mere 32 screens — 32 screens! — unimaginable in today’s economy. I probably first saw it in June, in a packed theater of film-goers only vaguely aware of the growing buzz, spurred by news reports of long lines on both coasts and ecstatic audience reaction. During those early months – and I personally experienced the film around 15 times during 1977, including once at a drive-in – audiences literally, audibly gasped. They responded with spontaneous laughter, applause, even cheers. It remained in theaters four out of the next five years.

The new Star Wars movie will likely open on at least 5,000 screens and, of course, already, a year before it’s out, fans are scrutinizing scads of photos being leaked across the Internet, and literally every last shot of that teaser trailer. I don’t envy Abrams. Movies shouldn’t be subject to such intense scrutiny before they’re even finished. It would have better to keep everything under wraps until opening day but that’s impossible in this day and age; that Disney’s publicity people want to exert at least some control over the flow of leaked material is probably understandable.

But the new Star Wars won’t be made for me and it won’t be made for you, either. With a projected $200 million budget (about 20 times the cost of the original) it can’t help but cater to the broadest possible worldwide audience, and that means taking few chances or “pleasing the fans.” The first movie was so memorable because it was the first movie – everything was new. Everything since involves characters and a universe we’re now all intimately familiar.

Abrams and cinematographer Daniel Mindel are to be commended for stating publicly they want to minimize the use of CGI and instead film on real locations and utilize scale models as the original trilogy but not the prequels had. Whether this comes to pass is unknown though these good intentions do not seem borne out in the trailer. Regardless, I’d like to see Abrams go significantly further than that.

Would should be a cardinal rule for anyone making a remake or sequel to such films is an intensive study of what made the original so appealing in the first place. This is not to say the filmmakers are obliged to copy those elements or to bend to the demands and expectations of fans of such pictures. But it only makes sense to clearly understand what worked the first time around and to build on that success, or to consciously move in different directions for valid reasons, and even sometimes to subvert what worked before into a work entirely new. Any of these approaches are fraught with peril: Lucas tried second-guessing audience expectations in The Empire Strikes Back and Return of the Jedi (1983) and the results were movies with both good and terrible ideas. By the time he got around to the prequels he decided to fashion them into precisely and down to the last detail exactly what he thought they should be, all other core creative input be damned. Those movies pleased so few because either even he didn’t understand why Star Wars was so embraced. Or maybe he subconsciously wanted to aesthetically dismantle all that he had built. Maybe he was only interested in making money.

But, even earlier, other than some strong story developments in Empire (negated somewhat by several supremely bad choices elsewhere), none of the Star Wars sequels to date have lived up to their potential. Partly this was Lucas’s obsession with raising the bar in terms of the visual effects with each film and implementing CGI technology. Most of the truly bad ideas in the original sequels were his.

Star Wars advance

The new Star Wars would be better with less, a less frenetic, more deliberate pace and, most important of all, an intelligent, adult, and humanist approach to its story and characters. The first film had between 300-380 special effects shots, compared to around 2,000 in each of the prequel films. Some CGI-filled movies today have closer to 3,000, resembling video games more than movies. What the new Star Wars movie should do but probably won’t is dramatically deemphasize the visual effects. I long to see long stretches of real, unenhanced location work backgrounding character-driven scenes. A few major set pieces, as with the original picture, would be far more dramatic, especially if the screenplay carefully and intelligently laid the groundwork for (and reestablishes) characters and a story its audience can truly embrace.

But I just don’t see that sort of thing in Abrams’s filmography. His Star Trek (2009) probably had more effects shots during its first ten minutes than the entire original Star Wars. I don’t have data about the average shot length in Abrams’s Star Trek movies versus the original Star Wars, but I’d expect the total number of shots of all kinds to dwarf any of the original films.

Star Wars came along at a time when Hollywood-made and foreign films tended to be downbeat and pessimistic: think A Clockwork Orange, Chinatown, Taxi Driver, Network, Nashville, etc. As important as its special effects, more so even, was that Star Wars provided escapist entertainment when such movies were comparatively rare. Today, virtually all Hollywood-produced movies are high-concept, superficial escapism. Just as Star Wars movies are no longer light years ahead of industry standards in terms of their special effects, so too is it no longer an entertainment anomaly generally. Audiences have become more sophisticated in terms of their awareness of movie technology, and in tandem have also become much more jaded, even afraid to feel. The spontaneous, unselfconscious euphoria audiences felt as the end credits of the original Star Wars rolled during the summer of 1977 is hard to imagine today. Indeed, readers too young to have seen Star Wars when it was new might find the very idea of that last sentence perplexing. But it’s also exactly what Star Wars fans have been positively craving to experience again for decades.

The new movie brings back the original trilogy’s stars: Mark Hamill, Carrie Fisher, and Harrison Ford. Probably there will be a lot of smart-alecky dialogue about them being too old for this sort of space-swashbuckling (one can already anticipate the catch-phrases), something akin to the jokey, obvious lines found in Indiana Jones and the Kingdom of the Crystal Skull (2008), made when Ford was 65. But wouldn’t it be something if the new Star Wars script could find a way to humanistically reflect some of the concerns and interests these favorite characters might be experiencing and feeling in their late-middle age? (Well, Harrison’s now 72. Han Solo’s “autumn years,” perhaps?) The new Star Wars is primarily, perhaps unavoidably targeting 18-24 year olds who don’t have the patience for such contemplation, but what about the millions of original Star Wars fans, primarily moviegoers now in their late-40s to late-60s? The first film was such a resounding success partly because it appealed to such a broad audience spectrum: theaters weren’t just crammed with kids, but middle-aged and senior citizens who rarely went to the movies, many of whom had probably never seen a science fiction-fantasy film in their life. Not before or since have I seen a phenomenon like it: a movie that practically everyone, all age groups, races, tastes, etc. had to see at least once, a movie that nearly everyone enjoyed immensely.

Why can’t we have that again?

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Savant Blu-ray Review: “Foreign Correspondent” (1940)

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We’ve had our fill of tell-all biographies about Alfred Hitchcock’s alleged sexual obsessions with his leading actresses, a trend that came to a head a couple of seasons back with the shockingly fictitious movie Hitchcock. In the 1940s Hitch was being driven batty in a different way, putting up with David O. Selznick, the powerful producer and talent broker. Selznick brought England’s most entertaining director to Hollywood, where the creative possibilities within the massive studio factories seemed unlimited. Hitch had been on a roll with witty U.K. spy thrillers that put attractive amateurs into high jeopardy, fighting assassins on moving trains and fleeing enemy agents on the Scottish moors.

Selznick instead first assigned Hitchcock to help fashion a glamorous but overlong romantic thriller, Rebecca (1940). After a flaming finale the characters must continue talking for several minutes to clear away the story deadwood.

Selznick was so busy with his other films and with promoting Jennifer Jones that he loaned Hitchcock out several times during the run of his contract. Almost immediately came Foreign Correspondent (1940), a gutsy ‘spy’ chase given real bite by the international situation. England was already at war, and independent producer Walter Wanger was eager to strike a propaganda blow against Hitler. A committed leftist, Wanger had produced Fritz Lang’s critical crime picture You Only Live Once as well as the somewhat muddled anti-Franco drama Blockade, both starring Henry Fonda. In perhaps the most direct bit of revolutionary theater transferred to the screen, Fonda wails that the Great Democracies are doing nothing to stem the Fascist atrocities in Spain: “Where is the conscience of the World?!”

As it turned out, patriot Hitchcock was the tempering influence behind Foreign Correspondent. Wanger salted in dialogue lines referring to Hitler’s progress across Europe, but Hitch worked to keep the film’s tone as light and entertaining as possible. The movie turns to overt propaganda only at the end, in the brief but famous “The lights are going out all over Europe”.

Hitchcock critics are much better informed today, but there was a time when they debated the same rather narrow issue: is Hitch’s best work his clever ’30s spy chases The Secret Agent, The Man Who Knew Too Much, The 39 Steps and The Lady Vanishes? Or do his glossy, star-driven Hollywood thrillers show a maturity in his style: The Man Who Knew Too Much, North by Northwest, Topaz?

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I’m of the opinion that Foreign Correspondent is the best of Alfred Hitchcock’s spy chase thrillers. While not blessed with top box office stars, its leading actors Joel McCrea and Laraine Day are intensely likeable, and Hitchcock puts them through a series of exciting, fresh adventures that never strain credibility, or go for cheap jokes. As with the earlier English classics, Hitchcock makes use of silent movie visual gags to involve the viewer in the action. The easiest of these is the bobbing forest of umbrellas in Holland, which both hide the assassin and reveal his escape path. Hitch also uses visual shorthand to add droll visual jokes, like the hotel sign that suddenly makes its own comment on anxious pre-war Europe. Some of these visual gags are so simple they remind us of the hand-drawn cartoons Hitch reportedly added to silent movie cards when he was just starting out.

Although filmed in Los Angeles, Foreign Correspondent is also the kind of fast moving travelogue that Hitchcock preferred. A few of his later VistaVision pictures take time out to observe flower markets, or just admire the countryside. After WW2, breaking countries down into simple references (like Switzerland = chocolate) would have been insulting. Hitch tried a ruthlessly unsentimental spy story in Topaz and nobody felt engaged in the story. The new lovers in Correspondent cuddle and kiss on the deck of a ship crossing the English Channel. He: “You see, I love you and I want to marry you.” She: “I love you and I want to marry you.” He: “Well, that cuts our love scene down quite a bit, doesn’t it?” For once every line of dialogue is a witty gem; there are no clunkers. That’s how it should be when talent like Charles Bennett, Joan Harrison, James Hilton and Robert Benchley are properly applied to a script.

With the bigger, glossier ’50s films name stars take a much bigger role. James Stewart and Doris Day’s marital relationship in the Man Who Knew Too Much remake is terribly dated. Day’s traumatized mother is sedated before being told that her son has been kidnapped; it’s assumed she can’t handle the pressure. The frightened couple also break Hitchcock’s rule by going to the police early and often. So we have to listen to the cops in scene after scene.

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Finally, career adapter Ernest Lehman turns North by NorthWest into a ‘best-of’ collection of Hitch’s Greatest Chase Hits. When not wowing us with extraordinary set-piece scenes like the Corn Field Crossroads, Lehman baldly repeats situations from earlier films. It’s a great movie with marvelous characters. As in most of the ’50s Hitchcocks, the bad guys are identified from the moment they’re introduced.

This by no means is a criticism of any of these Hitchcock pictures, almost all of which are superb entertainments. Foreign Correspondent quickly breaks free of thriller conventions. Its hero Johnny Jones is not a two-fisted adventurer but a crime reporter who loves his Mom, keeps losing his hat and punches out policemen. Half the time the tone is of a screwball comedy. Harry Davenport is Jones’ grinning, mischievous editor, and co-writer Robert Benchley is on hand as an alcoholic, slacker foreign correspondent that greets Johnny’s boat.

When the spy threat becomes more intense, the humor doesn’t depart, but instead morphs into proto- James Bond witticisms and caustic observations by George Sanders’ good-guy intelligence agent. Haughty and bored-looking in all but the most unpleasant situations, Sanders’ unflappable cool is highly entertaining — and impressively original.

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Finally, Foreign Correspondent has several bravura set piece scenes that for my money top anything before or since in similarly themed Hitchcock pictures. Walter Wanger secured for his director the best technical wizardry in Hollywood, starting with William Cameron Menzies, whose distinctive designs gave shape to many a shaky production. Johnny Jones’ escape out a high hotel window is only a refinement on standard matte painting techniques. But Menzies’ genius is fully realized in the Holland windmill scene. When he enters the noisy, dust-filled windmill Johnny Jones is trying to determine if the shooting of the beloved Peace advocate Van Meer (Albert Basserman) has been faked. The noise and the turning gears allow Johnny to hide, even when it seems certain that his presence will be discovered. Hitchcock and Menzies use every trick they can think of — a villain changing his sweaters give Johnny a chance to shift position, for instance. But then Johnny’s raincoat gets caught in the gears and is dangled practically in the faces of the bad guys. Every shot in this swift sequence is a complex beauty. What dialogue we do hear is irrelevant – the pictures tell the story, compelling us to share Johnny’s experience at a gut level.

Before CGI was used for everything, some of the best special film effects were little more than clever slight-of-hand-gags. To escape from the fourth or fifth floor of building under renovation, one of the heroes leaps from a window, rips through an awning and gently alights at sidewalk level. The shot looks like one take, an amazing feat. But closer examination shows the stunt to be constructed in two halves — the man making the big drop is a dummy, and the actor takes over for the drop through the awning. It always gets applause in theatrical showings.

The sequence that really wows ‘em is the crash of a flying boat in mid-Atlantic. Here Menzies uses everything he knows to inject realism (1940-style) into the spectacle of a passenger plane shot down by a warship. The ship interior tilts and hand-held cameras reflect the passengers’ panic as the cabin floods with real water. The actual moment of crash impact was an expensive “this better work” gag involving large water dump tanks — it’s better seen than explained. When the survivors climb out on the few pieces of the plane still floating, we see real water, rear-screen projected waves and other effects working that are much harder to analyze. The important thing is that the Foreign Correspondent plane crash is still one of the most effective, audience-engaging disaster scenes ever filmed.

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We’re told that Alfred Hitchcock resisted letting Foreign Correspondent become an outright attack on Hitler and the Nazis. One factor might have been that patriotic films being made in England were careful not to provoke the Germans too much, for fear of reprisals against Brits already in prison camps. Our Isolationist (read: pro- Bund) congress was censuring Hollywood to curb all propaganda movies. But Correspondent does mention Hitler by name. The epilogue in the BBC radio room as the air raid begins is a message for America to get active, now. It might be too late for England, leaving America as the world’s only hope. I think it’s one of the most stirring calls to battle ever made by a movie, and all the more effective because of Hitchcock’s breezy treatment.

The Criterion Collection’s Blu-ray + DVD of Foreign Correspondent is quite a surprise. Remastered from its owner Westchester Film, the B&W HD image is gorgeous, far surpassing Warners’ earlier DVD and looking like something one might see on a screen in 1940. Alfred Newman’s great score (with an infectious little tune to represent the inexperienced Johnny Jones) comes through more strongly than ever. Shots that before were lost in darkness, leaving visual details difficult to assess, are now sharp as a tack. A photo-story Life magazine article arranged by Hitchcock shows how idle rumors hurt the war effort. Joseph Cotten appears in a 1946 radio adaptation, and the insert booklet carries an essay by James Naremore.

Effects spokesman Craig Barron provides a lengthy breakdown of the film’s wizardly camera tricks, while Mark Harris provides an absorbing visual opinion essay called Hollywood Propaganda and WWII. An episode of the Dick Cavett Show has Hitchcock as its coddled guest.

Criterion’s Dual-Edition release contains all extras on both Blu-ray and DVD. The In-House producer is Susan Arosteguy.

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