John Hodson
Senior HTF Member
Seconded; we've become a little spoilt in the last couple of years haven't we? If these had come out on DVD three years ago, I think we'd all be saying how terrific they all look.
Rich, I have 'bad' in my collection. These are not 'bad'.
If it helps, I posted this elsewhere, about the other two Universal noirs:
Two more: Criss Cross and Black Angel, the first two Universal films in the Universal Noir Collection (the other two originally being part of the Paramount catalogue which Universal now owns).
From 1946, Black Angel features that rare beast, the sympathetic Dan Duryea character, and a cracking cast that includes the ever marvellous Peter Lorre (boo, hiss...) and noir staple Broderick Crawford. The transfer is a little better than The Big Clock, but not by much. There's alot of grain and the contrast seems a little out of whack. I know it's meant to be a dark thriller, but not this dark. On the plus side there's little evidence of damage, few speckles and the audio track is in decent shape. Love the opening shot; Duryea on Wilshire staring up at a tall apartment block. The camera swoops upwards, homes in on one particular window, through the ubiquitous blinds, down from the ceiling and voila! I'm hooked...
JUst two years later came Criss Cross but it might as well be a 100. The transfer is excellent, nice contrast, lots of detail - light years away from Black Angel. The Universal logo is different too; BA employs the logo Universal used from the '30s, CC is not much different from the one in the '70s. This just double underlines not only the better transfer but also the style of director Robert Siodmak, all tight, sweaty close-ups getting you right in among the action. Daniel Fuchs screenplay has some wonderful interplay between gangster (that's more like it) Duryea and his hencemen; the dialogue is resonant of (and, of course, precedes) Scorsese. It's good fun picking out a veritable army of character actors among the cast, Burt Lancaster, hot off The Killers, is a different actor to the one that walked through that same year's Sorry, Wrong Number, and Yvonne De Carlo is dark and sultry, a million miles away from Lily Munster. Full marks too, to Miklos Roza's score, which just screams noir. Brilliant.
Buy 'em while they're hot (and cheap...)