As for the remainder of the movie, you know how some peopleĭon’t really get Glenn Ford? I’m kind of like that with Tyrone Power. Hayworth and Linda Darnell are also dazzling visual effects in Technicolor isĪlso a major plus. Transfer is simply breathtaking in their reproduction. Sufficient flexibility to achieve dazzling visual effects, and this high-def
The strictures of Technicolor in that year allowed Mamoulian Work of Spanish painters: Murillo, Goya, Velasquez, El Greco, Titian, Veronese,
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It cites an article by Mamoulian forĪmerican Cinematographer in 1941, the year of this film’s making, in which theĭirector writes of how he deliberately styled scenes in the movie after the
Passionate and persuasive monograph on Rouben Mamoulian, recently reprinted in This has been on my “to see” list since I read Tom Milne’s TCP50S30 plasma display, Pioneer Elite VSX-817 AV amplifier/receiver. Playstation 3 for domestic discs, OPPO BDP 83 for import discs, Panasonic Viera Given how and when the last Blu-ray Consumer Guide came intoīeing, it may be that scheduling these to appear at random national holidays If you don't have a region-free player you're out of luck at the moment, as the disc if Region-B locked, but I'm reasonably confident a domestic-player-friendly version will surface. It's beautiful in pretty much every other respect too. The Eureka! disc is the first second true widescreen version and hence cause for celebration. Which musings may provide some consonance for the above image.įor a long time the only home video versions of this movie have been non-optimized for 16:9 displays, meaning they put a 2.55 image in a 4:3 box, which is obviously less than optimum. I got so excited that I forgot that I wrote at length about Noonan and this film a couple of years back. I got so terribly excited by the new Eureka! blu-ray disc of this ineffable thriller that I just had to post a screen cap of it, and I've always loved this particular shot from the POV of peeper Tommy Noonan. Virginia Leith in Violent Saturday, Richard Fleischer, 1955.
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