Tag Archives: Blu-ray

Mother / The End of St. Petersburg (Flicker Alley)

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Flicker Alley’s presentation of Mother (1926) is a bit of a throwback to when silents were released on home video with whatever print the distributor happened to own. Nowadays, with so many movies getting processed to death, it’s jarring to see a major silent presented as-is from a well-worn print. Still, the transfer is nice. Natural grain, no major compression issues, and most importantly, no restoration artifacts.

Clipped directly from the BD.

As you can see, it’s rough, but it’s nicely encoded. I suppose it could be processed with new grading and stabilization, but it’s so easy to be heavy-handed, that I think I’d prefer this. Besides, it’s clearly not first-generation material, so what’s the point?

The End of St. Petersburg (1927), also well-worn, derives from Mosfilm’s 1969 restoration. It runs at a variable frame rate, primarily 24fps (most of the time) and 18fps, step-printed in 1969. I wonder about the accuracy of this. 18fps makes sense for slower scenes in the first half, but the dips in speed are drastic and inconsistently applied as the action and editing get faster in the climax.

FA’s transfer has further stretching that results in random single frames being duplicated, mostly in the second half. Many of these are easy to miss amid the frantic action. However, it’s another nice encode.

Clipped directly from the BD.

When Mosfilm step-printed in 1969, they introduced a lot of debris. You can see this when frames get repeated; you end up with the same image getting completely different layers of dirt and different exposures. They also introduced gate weaving and occasional out-of-focus frames (at splices). By undoing their step-printing, we can get non-destructive repair:

Left: 1969 step-printing. Right: Step-printing removed and corrected to 60fps.

The difference is slight, but the right side is a little cleaner and gate weave is more natural and less…slippery. It may not be noticeable in this short clip, but over the course of the movie, and on a big screen, the 1969 step-printing defects are visible.

I am very curious what original material actually exists and its condition. Alas, Ukraine. Oh, well…

Mother is transferred at 20fps and encoded at 24fps. The End of St. Petersburg is transferred with a variable frame rate, 8-24fps, and encoded at 24fps.

Abraham Lincoln (1930, Kino)

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Overall, very nice picture quality. Good grain, looks natural.

Clipped directly from the BD.

However, the 2.0 LPCM sound decodes as surround, not mono. It’s easy to fix, but something that should’ve been caught before the disc was released.

The restoration was also pretty good. I wasn’t noticing any obvious processing artifacts, until, at 1h24m:

Clipped directly from the BD.

Sloppy, 3-frame, quick-reversed, misaligned changeover cue removal (but only one of them). I don’t get the hatred for changeover cues. You’d see them if you went to a screening of a print. They are authentic and accurate. If all that exists has cues, then that’s okay. Leave them alone, especially when the retouching isn’t flawless and invisible.

This was the only restoration artifact I noticed. I’m sure there were more, but they didn’t stick out like this one.

The improper surround sound, though, was a serious error.

Playtime (Criterion)

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As part of the celebration of the reopening of the Egyptian Theatre here in Hollywood, the American Cinematheque ran a 70mm print of the 2002 restoration of Playtime (1967). Since Criterion released it twice on BD, each with radically different color timing, I took note of the color. A simple test: does it look gray, like metal, or brown?

Criterion’s first BD is close to the color you’d see if you went to a 70mm screening:

Notice how gray everything is. That’s the point. Paris’ colorful life obliterated by cold, drab, and homogenous modernism.

The 2002 version does have some computer repairs that I’d probably complain about if I got a chance to look closely, but I have yet to notice them during a screening, and I go nearly every time it plays in Los Angeles.

The 2013 version:

It now has L’Immagine Ritrovata’s characteristic urine-soaked color timing.

While the new version is sharper, less grainy, more stable, it’s ruined by the ugly color. Additionally, it’s riddled with interpolation that also freezes grain. It fakes frames that are intact in the previous version.

I first saw Playtime when the 70mm prints were still new, at least as late as 2004. It was stunning. Even with 20 years of wear, the print I just saw was still beautiful. All they needed to do was scan this negative, nothing more, and the BD would have looked wonderful.

Ashkan, the Charmed Ring and Other Stories (Deaf Crocodile)

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[Ashkan] was shot on video at 25 frames per second. [This version was converted to 24fps] by removing 1 frame per second from the movie.

I initially misread that as “one frame per shot,” which would have been no big deal. So, to see such choppiness really caught me off guard:

Clipped directly from the BD.

It’s really noticeable and distracting throughout the movie, though the hand-held shaky cam helped hide some of it.

If this is the best version, I have some questions. Why couldn’t the 25fps original be used? Does it still exist? The video that remains is basically slowed down; slowing the original down to 24fps would be effectively the same. Why couldn’t it be a 25fps->1080i60 conversion? What about the sound? Is it slowed or pitch-corrected?

I’m not thrilled with the video compression, but it could be worse:

Clipped directly from the BD.

A poor presentation. Whatever the price is for this four-disc set, it’s 25% too much.