Capsule/Summary ****
Dead Ringer is an above average melodramatic suspense film with a wicked sense of humor that makes the most out of its modest budget and a scenery chewing performance from Bette Davis as estranged identical twin sisters. It is presented on Blu-ray disc with a somewhat soft video presentation that appears to be a result of the director and cinematographer giving the aging Ms. Davis the benefit of some soft gauzy focus. Audio is a serviceable lossless mono track that reveals limitations in the fidelity of the source element and highlights Andre Previn’s harpsichord heavy score. Extras carried over from the previous DVD release include a commentary from Davis aficionados Charles Busch and Boze Hadleigh, a video interview with Hadleigh, a vintage featurette on the Doheny Mansion where the film was shot, and the film’s theatrical trailer.
Dead Ringer
Directed By: Paul Henreid
Starring: Bette Davis, Karl Malden, Peter Lawford, Philip Carey, Jean Hagen, George Macready, and Estelle Winwood
[SIZE= 15px]Studio[/SIZE][SIZE= 15px]: Warner Bros.[/SIZE]
[SIZE= 15px]Year[/SIZE][SIZE= 15px]: 1964[/SIZE]
[SIZE= 15px]Rated[/SIZE][SIZE= 15px]: NR[/SIZE]
[SIZE= 15px]Film Length[/SIZE][SIZE= 15px]: 116 Minutes[/SIZE]
[SIZE= 15px]Aspect Ratio[/SIZE][SIZE= 15px]: 16:9[/SIZE]
[SIZE= 15px]Subtitles[/SIZE][SIZE= 15px]: English SDH, French, Spanish[/SIZE]
[SIZE= 15px]Release Date[/SIZE][SIZE= 15px]: October 9, 2012[/SIZE]
[SIZE= 19px]The Film ****[/SIZE]
[SIZE= 15px]In [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] Bette Davis plays twin sisters Margaret DeLorca and Edith Phillips. Estranged for nearly two decades, they are reunited when Edith attends the funeral of Margaret’s wealthy husband. Absence has not exactly made the heart grow fonder, and when Edith, the owner of a failing piano bar, learns the truth about a dirty trick her wealthy sister played years ago that reversed her fortunes, things take a turn for the homicidal. Edith kills her sister, intent on assuming Margaret’s life of privilege, but her attempt at impersonation quickly becomes a tightrope walk as she attempts to pull the wool over Edith’s in-laws, household staff, socialite friends, and extramarital lover Tony (Lawford). Her efforts are further complicated by the persistent inquiries from her former boyfriend Tony (Malden) a tenacious police Sergeant, and some skeletons in Margaret’s closet that she inherits with her new life.[/SIZE]
[SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] was Bette Davis’ cinematic follow-up to her “comeback” film, [/SIZE][SIZE= 15px]Whatever Happened to Baby Jane[/SIZE][SIZE= 15px]. Jack Warner didn’t exactly back up the Brinks truck for his studio’s most enduring star, but the film makes the most of the assets it has: chiefly Davis in an enjoyable dual role and the luxurious Doheny Mansion in South Los Angeles. Director Paul Henreid, who memorably co-starred opposite Davis in 1942’s [/SIZE][SIZE= 15px]Now, Voyager[/SIZE][SIZE= 15px], had spent much of the previous decade establishing himself as a TV director, notably helming several episodes of [/SIZE][SIZE= 15px]Alfred Hitchcock Presents[/SIZE][SIZE= 15px]. In many ways, [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] plays a lot like an elaborate expansion of an episode of that series, spinning a suspenseful variation of a [/SIZE][SIZE= 15px]Pardoner’s Tale[/SIZE][SIZE= 15px] with some wickedly ironic twists. [/SIZE]
[SIZE= 15px]While many viewers characterize [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px], dismissively or affectionately, as high camp, that is painting it with a pretty broad brush. Campiness is generally kept at a low simmer through the film. Director Henreid is methodical with his set-ups and chooses his spots strategically where things are allowed to boil over the top. Davis modulates her performance accordingly to very entertaining effect. She arguably looks every bit of the 10-15 years older she was than her characters in the film, but it is hard to think of another actress from the era who could have drawn two (arguably three if you count “Edith as Margaret” separately) distinct characters so memorably. Henreid must have had a deft touch with actors as he draws finely tuned performances from all of the film’s co-stars. I cannot recall ever having anything positive to say about a Peter Lawford performance in any other movie, but he absolutely nails his lothario character in this film. Karl Malden, an actor who can sometimes come on a bit strong and stagey on screen, finds the right gentle but determined tone as a nice guy Police Officer trying to deal with what he thinks is the tragic suicide of his girlfriend. His scenes with Davis are almost as good as Davis’ scenes with, … well, herself. [/SIZE]
[SIZE= 15px]Henreid also negotiates the technical aspects of the film with aplomb, including a well-staged opening sequence transitioning from the credits to Edith’s arrival at a funeral. Viewers will undoubtedly want to see the film twice to parse out which shots use doubles, which use split screen effects, and what other types of cinematic trickery are employed to realize the scenes between Edith and Margaret. It is a credit to Henreid’s skill and Davis’ movie star charisma that it never becomes distracting during one’s initial viewing.[/SIZE]
[SIZE= 19px]The Video ***[/SIZE]
[SIZE= 15px]This 1080p AVC-encoding approximates this black and white film’s original theatrical aspect ratio by filling the entire 16:9 screen. This will not be anyone’s go to disc when showing off their home theater set-up, but it appears to be an honest rendering of a decent film element. There is a general lack of sharpness through most of the film which appears to be at least partly an artifact of the film’s cinematography. This is evidenced by the improved sharpness in shots that do not involve Bette Davis in medium or close-up view. The actress appears to have been the beneficiary of some vintage Hollywood leading lady trickery. Grain is reasonable and generally uniform. Halo artifacts appear around the black funeral clothes Davis wears in a few scenes, but this could very well be an artifact of the otherwise well done optical split screen effects in scenes where both sisters played by Davis appear in the same frame.[/SIZE]
[SIZE= 19px]The Audio **½[/SIZE]
[SIZE= 15px]The film's sound mix is provided courtesy of a DTS-HD MA lossless 16 bit mono encoding. It leaves a bit to be desired in terms of dynamics and fidelity, but issues appear to be primarily source related. Andre Previn’s harpsichord accented score that has a certain Bernard Herrman feel to it is the highlight of the track. No alternate language tracks are available.[/SIZE]
[SIZE= 19px]The Extras ***[/SIZE]
[SIZE= 15px]The extras are recycled from the film’s previous 2004 DVD. They are presented in 16:9 standard definition video with Dolby Digital 2.0 audio unless otherwise noted below.[/SIZE]
[SIZE= 15px]Commentary by Charles Busch and [/SIZE][SIZE= 15px]Bette Davis Speaks[/SIZE][SIZE= 15px] Author Boze Hadleigh[/SIZE][SIZE= 15px] is a full length screen specific commentary that was recorded by Busch and Hadleigh together. Busch is a playwright, screenwriter and actor famed for his female impersonations and affinity for all things camp. Hadleigh is an author of several books on celebrities and pop-culture inclusive of the 1996 book [/SIZE][SIZE= 15px]Bette Davis Speaks[/SIZE][SIZE= 15px]. The first half of the commentary is very tightly paced with seemingly rehearsed set-ups and segues as the conversation passes between Hadleigh and Busch with each of them offering interesting bits of information about the film, Bette Davis, and the other actors and filmmakers involved in the production. Hadleigh dominates most of the commentary’s final hour with less frequent (and generally less informative) interjections from Busch. There are moments when the commentators seem to be killing time or narrating events that the viewer can see for themselves, but the majority of the commentary is informative and fun. The structure of the film is such that some major co-stars such as Jean Hagen and Peter Lawford are not introduced until fairly late in the proceedings, which provides the commentators a second wind of sorts, allowing for them to discuss biographical details and the actors’ experiences on the film. [/SIZE]
[SIZE= 15px]Double Take: A Conversation with Boze Hadleigh[/SIZE][SIZE= 15px] (12:48 - 4:3 video) is an extended interview featurette produced in 2004 where Hadleigh provides background on the film and its stars. He lapses into the obvious a few times when describing characters and scenarios in the film, but on balance provides a concise overview for those who do not have the time and/or patience to sit through the commentary track..[/SIZE]
[SIZE= 15px]Behind the Scenes at the Doheny Mansion[/SIZE][SIZE= 15px] (7:01) is a vintage black and white promotional featurette from 1964 on the home where he film was shot which includes quite a bit of behind the scenes footage of the film's production.[/SIZE]
[SIZE= 15px]Theatrical Trailer [/SIZE][SIZE= 15px](2:41) is the film’s original extended promo which is worth watching as it includes unique footage and a narration from Peter Lawford.[/SIZE]
[SIZE= 19px]Packaging[/SIZE]
[SIZE= 15px]The Blu-ray disc is enclosed in a standard-sized Blu-ray case with cover art derived from the film’s original promotional art including the tagline: “Mirror, mirror, on the wall, now who’s the fairest of them all?” There are no inserts. [/SIZE]
Dead Ringer is an above average melodramatic suspense film with a wicked sense of humor that makes the most out of its modest budget and a scenery chewing performance from Bette Davis as estranged identical twin sisters. It is presented on Blu-ray disc with a somewhat soft video presentation that appears to be a result of the director and cinematographer giving the aging Ms. Davis the benefit of some soft gauzy focus. Audio is a serviceable lossless mono track that reveals limitations in the fidelity of the source element and highlights Andre Previn’s harpsichord heavy score. Extras carried over from the previous DVD release include a commentary from Davis aficionados Charles Busch and Boze Hadleigh, a video interview with Hadleigh, a vintage featurette on the Doheny Mansion where the film was shot, and the film’s theatrical trailer.
Dead Ringer
Directed By: Paul Henreid
Starring: Bette Davis, Karl Malden, Peter Lawford, Philip Carey, Jean Hagen, George Macready, and Estelle Winwood
[SIZE= 15px]Studio[/SIZE][SIZE= 15px]: Warner Bros.[/SIZE]
[SIZE= 15px]Year[/SIZE][SIZE= 15px]: 1964[/SIZE]
[SIZE= 15px]Rated[/SIZE][SIZE= 15px]: NR[/SIZE]
[SIZE= 15px]Film Length[/SIZE][SIZE= 15px]: 116 Minutes[/SIZE]
[SIZE= 15px]Aspect Ratio[/SIZE][SIZE= 15px]: 16:9[/SIZE]
[SIZE= 15px]Subtitles[/SIZE][SIZE= 15px]: English SDH, French, Spanish[/SIZE]
[SIZE= 15px]Release Date[/SIZE][SIZE= 15px]: October 9, 2012[/SIZE]
[SIZE= 19px]The Film ****[/SIZE]
[SIZE= 15px]In [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] Bette Davis plays twin sisters Margaret DeLorca and Edith Phillips. Estranged for nearly two decades, they are reunited when Edith attends the funeral of Margaret’s wealthy husband. Absence has not exactly made the heart grow fonder, and when Edith, the owner of a failing piano bar, learns the truth about a dirty trick her wealthy sister played years ago that reversed her fortunes, things take a turn for the homicidal. Edith kills her sister, intent on assuming Margaret’s life of privilege, but her attempt at impersonation quickly becomes a tightrope walk as she attempts to pull the wool over Edith’s in-laws, household staff, socialite friends, and extramarital lover Tony (Lawford). Her efforts are further complicated by the persistent inquiries from her former boyfriend Tony (Malden) a tenacious police Sergeant, and some skeletons in Margaret’s closet that she inherits with her new life.[/SIZE]
[SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] was Bette Davis’ cinematic follow-up to her “comeback” film, [/SIZE][SIZE= 15px]Whatever Happened to Baby Jane[/SIZE][SIZE= 15px]. Jack Warner didn’t exactly back up the Brinks truck for his studio’s most enduring star, but the film makes the most of the assets it has: chiefly Davis in an enjoyable dual role and the luxurious Doheny Mansion in South Los Angeles. Director Paul Henreid, who memorably co-starred opposite Davis in 1942’s [/SIZE][SIZE= 15px]Now, Voyager[/SIZE][SIZE= 15px], had spent much of the previous decade establishing himself as a TV director, notably helming several episodes of [/SIZE][SIZE= 15px]Alfred Hitchcock Presents[/SIZE][SIZE= 15px]. In many ways, [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px] plays a lot like an elaborate expansion of an episode of that series, spinning a suspenseful variation of a [/SIZE][SIZE= 15px]Pardoner’s Tale[/SIZE][SIZE= 15px] with some wickedly ironic twists. [/SIZE]
[SIZE= 15px]While many viewers characterize [/SIZE][SIZE= 15px]Dead Ringer[/SIZE][SIZE= 15px], dismissively or affectionately, as high camp, that is painting it with a pretty broad brush. Campiness is generally kept at a low simmer through the film. Director Henreid is methodical with his set-ups and chooses his spots strategically where things are allowed to boil over the top. Davis modulates her performance accordingly to very entertaining effect. She arguably looks every bit of the 10-15 years older she was than her characters in the film, but it is hard to think of another actress from the era who could have drawn two (arguably three if you count “Edith as Margaret” separately) distinct characters so memorably. Henreid must have had a deft touch with actors as he draws finely tuned performances from all of the film’s co-stars. I cannot recall ever having anything positive to say about a Peter Lawford performance in any other movie, but he absolutely nails his lothario character in this film. Karl Malden, an actor who can sometimes come on a bit strong and stagey on screen, finds the right gentle but determined tone as a nice guy Police Officer trying to deal with what he thinks is the tragic suicide of his girlfriend. His scenes with Davis are almost as good as Davis’ scenes with, … well, herself. [/SIZE]
[SIZE= 15px]Henreid also negotiates the technical aspects of the film with aplomb, including a well-staged opening sequence transitioning from the credits to Edith’s arrival at a funeral. Viewers will undoubtedly want to see the film twice to parse out which shots use doubles, which use split screen effects, and what other types of cinematic trickery are employed to realize the scenes between Edith and Margaret. It is a credit to Henreid’s skill and Davis’ movie star charisma that it never becomes distracting during one’s initial viewing.[/SIZE]
[SIZE= 19px]The Video ***[/SIZE]
[SIZE= 15px]This 1080p AVC-encoding approximates this black and white film’s original theatrical aspect ratio by filling the entire 16:9 screen. This will not be anyone’s go to disc when showing off their home theater set-up, but it appears to be an honest rendering of a decent film element. There is a general lack of sharpness through most of the film which appears to be at least partly an artifact of the film’s cinematography. This is evidenced by the improved sharpness in shots that do not involve Bette Davis in medium or close-up view. The actress appears to have been the beneficiary of some vintage Hollywood leading lady trickery. Grain is reasonable and generally uniform. Halo artifacts appear around the black funeral clothes Davis wears in a few scenes, but this could very well be an artifact of the otherwise well done optical split screen effects in scenes where both sisters played by Davis appear in the same frame.[/SIZE]
[SIZE= 19px]The Audio **½[/SIZE]
[SIZE= 15px]The film's sound mix is provided courtesy of a DTS-HD MA lossless 16 bit mono encoding. It leaves a bit to be desired in terms of dynamics and fidelity, but issues appear to be primarily source related. Andre Previn’s harpsichord accented score that has a certain Bernard Herrman feel to it is the highlight of the track. No alternate language tracks are available.[/SIZE]
[SIZE= 19px]The Extras ***[/SIZE]
[SIZE= 15px]The extras are recycled from the film’s previous 2004 DVD. They are presented in 16:9 standard definition video with Dolby Digital 2.0 audio unless otherwise noted below.[/SIZE]
[SIZE= 15px]Commentary by Charles Busch and [/SIZE][SIZE= 15px]Bette Davis Speaks[/SIZE][SIZE= 15px] Author Boze Hadleigh[/SIZE][SIZE= 15px] is a full length screen specific commentary that was recorded by Busch and Hadleigh together. Busch is a playwright, screenwriter and actor famed for his female impersonations and affinity for all things camp. Hadleigh is an author of several books on celebrities and pop-culture inclusive of the 1996 book [/SIZE][SIZE= 15px]Bette Davis Speaks[/SIZE][SIZE= 15px]. The first half of the commentary is very tightly paced with seemingly rehearsed set-ups and segues as the conversation passes between Hadleigh and Busch with each of them offering interesting bits of information about the film, Bette Davis, and the other actors and filmmakers involved in the production. Hadleigh dominates most of the commentary’s final hour with less frequent (and generally less informative) interjections from Busch. There are moments when the commentators seem to be killing time or narrating events that the viewer can see for themselves, but the majority of the commentary is informative and fun. The structure of the film is such that some major co-stars such as Jean Hagen and Peter Lawford are not introduced until fairly late in the proceedings, which provides the commentators a second wind of sorts, allowing for them to discuss biographical details and the actors’ experiences on the film. [/SIZE]
[SIZE= 15px]Double Take: A Conversation with Boze Hadleigh[/SIZE][SIZE= 15px] (12:48 - 4:3 video) is an extended interview featurette produced in 2004 where Hadleigh provides background on the film and its stars. He lapses into the obvious a few times when describing characters and scenarios in the film, but on balance provides a concise overview for those who do not have the time and/or patience to sit through the commentary track..[/SIZE]
[SIZE= 15px]Behind the Scenes at the Doheny Mansion[/SIZE][SIZE= 15px] (7:01) is a vintage black and white promotional featurette from 1964 on the home where he film was shot which includes quite a bit of behind the scenes footage of the film's production.[/SIZE]
[SIZE= 15px]Theatrical Trailer [/SIZE][SIZE= 15px](2:41) is the film’s original extended promo which is worth watching as it includes unique footage and a narration from Peter Lawford.[/SIZE]
[SIZE= 19px]Packaging[/SIZE]
[SIZE= 15px]The Blu-ray disc is enclosed in a standard-sized Blu-ray case with cover art derived from the film’s original promotional art including the tagline: “Mirror, mirror, on the wall, now who’s the fairest of them all?” There are no inserts. [/SIZE]
