david hare
Supporting Actor
- Joined
- Aug 10, 2014
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- 683
- Real Name
- david hare
I've had the German disc of this for a week now, UK and French release of the same disc scheduled for November.
I can only say run don't walk to order it. After Canal and Lab Eclair's superlative 2012 2k restoration of Carne's 1938 masterpiece Quai des Brumes/ Port of Shadows I wondered how they would make do with their 2014 4k restoration of Le Jour se Leve, another masterpiece for which there is no O-Neg. I can only say they've performed miracles, based on the primary use of a "marron" (effectively a brown nitrate internegative) which Canal found at the last minute. There is a copiously detailed restoration documentary on the disc (subtitled like all the extras) which is mandatory viewing for everyone with the slightest interest in the art of film preservation. This restoration is so acutely and copiously attuned to the spirit of the filmmakers one can now see things in the lighting and photography that were previously just not visible even in 35mm archive prints. The movie was shot by DP Curt Courant with short lenses for the CUs and he employs a battery of lighting techniques (Philippe Agostini as lighting cameraman) for these shots, including keylights on eyes with backgrounds leeching from dark to light to blackness again, some of the longest lap dissolves in cinema history, for which the optical contrast popping from second gen shots has been almost totally eliminated, and an extraordinary technique in the two shots for the leads in which Courant pulls the focus slightly back from the eyes to provide maximum sharpness to the flat plane of the shot (clothes, arms, ) while the faces take on a kind of illuminated "glow". At this point I suspect Carne and his team were basically showing the American masters of CU and MCU like Lee Garmes and Ernest Haller their own stuff, and what stuff it is! The thing about this astonishing restoration is this is all so tangibly visible.
I cannot find a fault, (nor would I want to) with the image. The disc is just superb, and the 4k is currently screening theatrically in the UK. I would rate this 4K at the same level as the flawless Sony 4k of Lady from Shanghai. And in this case the Canal BluRay is right up there without the persistent problems that slightly tarnished the Welles discs. I would in fact call this for the BD and single restoration job of the year, and that in a year filled with outstanding work. So far at least. For me if maybe not so much for others but certainly for aficionados of the Golden Age of French cinema and the apex of "Poetic Realism" itself a forerunner to the Noir canon this movie is at the peak of French cinematic patrimony. It was the ultimate collaborative work of scenarist and poet Jacques Prevert, Carne at his own personal peak I believe, and the great designer Alexandre Trauner. The team would go on to make during the war Les Visiteurs du Soir and Les Enfants du Paradis (sadly in a totally botched Pathe BD presentation) but Daybreak I believe is their masterpiece.
I can only say run don't walk to order it. After Canal and Lab Eclair's superlative 2012 2k restoration of Carne's 1938 masterpiece Quai des Brumes/ Port of Shadows I wondered how they would make do with their 2014 4k restoration of Le Jour se Leve, another masterpiece for which there is no O-Neg. I can only say they've performed miracles, based on the primary use of a "marron" (effectively a brown nitrate internegative) which Canal found at the last minute. There is a copiously detailed restoration documentary on the disc (subtitled like all the extras) which is mandatory viewing for everyone with the slightest interest in the art of film preservation. This restoration is so acutely and copiously attuned to the spirit of the filmmakers one can now see things in the lighting and photography that were previously just not visible even in 35mm archive prints. The movie was shot by DP Curt Courant with short lenses for the CUs and he employs a battery of lighting techniques (Philippe Agostini as lighting cameraman) for these shots, including keylights on eyes with backgrounds leeching from dark to light to blackness again, some of the longest lap dissolves in cinema history, for which the optical contrast popping from second gen shots has been almost totally eliminated, and an extraordinary technique in the two shots for the leads in which Courant pulls the focus slightly back from the eyes to provide maximum sharpness to the flat plane of the shot (clothes, arms, ) while the faces take on a kind of illuminated "glow". At this point I suspect Carne and his team were basically showing the American masters of CU and MCU like Lee Garmes and Ernest Haller their own stuff, and what stuff it is! The thing about this astonishing restoration is this is all so tangibly visible.
I cannot find a fault, (nor would I want to) with the image. The disc is just superb, and the 4k is currently screening theatrically in the UK. I would rate this 4K at the same level as the flawless Sony 4k of Lady from Shanghai. And in this case the Canal BluRay is right up there without the persistent problems that slightly tarnished the Welles discs. I would in fact call this for the BD and single restoration job of the year, and that in a year filled with outstanding work. So far at least. For me if maybe not so much for others but certainly for aficionados of the Golden Age of French cinema and the apex of "Poetic Realism" itself a forerunner to the Noir canon this movie is at the peak of French cinematic patrimony. It was the ultimate collaborative work of scenarist and poet Jacques Prevert, Carne at his own personal peak I believe, and the great designer Alexandre Trauner. The team would go on to make during the war Les Visiteurs du Soir and Les Enfants du Paradis (sadly in a totally botched Pathe BD presentation) but Daybreak I believe is their masterpiece.