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Blu-ray Review Yentl Blu-ray Review (1 Viewer)

Matt Hough

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Yentl Blu-ray Review

If the auteur theory hadn’t already been in existence, it would have had to be created for Barbra Streisand’s Yentl. The 1983 introspective musical version of an Isaac Bashevis Singer short story was co-written, produced, directed, and stars Barbra Streisand, and in every cinematic frame, musical note, or flicker of an eyelash, the careful touch of Barbra Streisand is unquestionably present. For some, that’s too much Streisand, and the movie, despite a sterling cast doing excellent work, is very much a one-woman show. Yentl’s story focuses on Yentl, so it’s a feast for fans of the über-talented star and almost famine for those who might want more from some of the other talented members of the cast.

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Studio: MGM

Distributed By: Twilight Time

Video Resolution and Encode: 1080P/AVC

Aspect Ratio: 1.66:1

Audio: English 2.0 DTS-HDMA, English 5.1 DTS-HDMA

Subtitles: English SDH

Rating: PG

Run Time: 2 Hr. 13/17 Min.

Package Includes: Blu-ray

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Disc Type: BD50 (dual layer)

Region: All

Release Date: 12/09/2014

MSRP: $29.95




The Production Rating: 3.5/5

After the death of her beloved father (Nehemiah Persoff), his daughter Yentl (Barbra Streisand), who has always detested the orthodox Jewish tradition of allowing only men to study the Talmud, decides to disguise herself as a boy named Anshel (after her late brother) and go to a faraway village to study. When she arrives, she quickly makes great friends with the swarthy Avigdor (Mandy Patinkin), and the two become study mates and eventually like brothers (though Yentl finds herself falling for him). Avigdor is engaged to the serenely beautiful Hadass (Amy Irving), but when a family tragedy in his past makes it impossible for them to marry according to the law, he urges his great friend to do right by him and marry his sweetheart. Yentl, after much soul searching and with her desperation to keep Avigdor around at any cost, agrees.Barbra Streisand certainly didn’t make things easy for herself choosing a middle European period piece (the setting is Poland in 1904) for her first official directorial effort (rumors abound that she had more than a small hand in directing many of her previous films), but the utmost care and precise attention to detail are obvious in every shot: the way she has opened books illuminated to symbolize the precious knowledge they possess, the careful lighting and muted colors she has used to suggest an earlier period, the long takes she utilizes to get the utmost from her talented cast. It’s an amazing directorial debut (which the Hollywood Foreign Press acknowledged with a Golden Globe Award for direction; she was snubbed with no nomination by both the Academy and the Director’s Guild for the same honor). But her excitement and enthusiasm for the material has not provided her with a very judicious sense of judgment in editing since this rather small short story has been expanded with an overlong script (co-written with Jack Rosenthal) and twelve musical numbers which stretch its running time to two-and-a-quarter hours. The Oscar-winning Michel Legrand/Alan and Marilyn Bergman song score is filled with numbers which capture Yentl’s every mood at propitious moments in her life: “Papa, Can You Hear Me” paying tribute to her beloved father after she’s made her decision to leave, “One of Those Moments” against a montage of shots showing Yentl’s adjustment to her new world, “No Wonder” as a paean to the beauties of Hadass, “The Way He Makes Me Feel” as she celebrates her love for Avigdor, “Tomorrow Night” as wedding preparations are made and the wedding occurs, “It Can’t Be the Same Any More” when she realizes she must reveal her secrets, and “A Piece of Sky” as she celebrates a new beginning. Streisand uses an unusual motif for Yentl's singing: full singing when she’s alone but allowing the songs to become interior monologues when she’s around anyone else. But despite her warm, rich voice and the beauties found in some of the music (“No Wonder” is the pick of the score though two other tunes got the Oscar nominations), two-plus hours of only Barbra Streisand singing is a bit more than is aurally comfortable in a film, especially since cast opposite her as Avigdor is Tony and Emmy-winning singing actor Mandy Patinkin, blessed with a soaring tenor, who doesn’t sing one note in the film despite several dramatic moments where a song for him would have worked beautifully.Streisand’s work as an actress here is fairly unimpeachable. Though admittedly one must watch this as a fairy tale to ever find her convincing as a male and she might have worked a little harder lowering the tone of her voice, it’s a marathon role which she acts and sings with tremendous conviction. Mandy Patinkin is superb as the appealing Avigdor: intelligent, blessed with youthful good looks and a handsome figure (which he shows off to great effect in a nude riverside bathing scene), and with emotions which are wide-ranging and always convincingly delivered. Amy Irving, who alone among the actors earned an Oscar nomination for her performance, is lovely and delicate as Hadass and shows appealing growth under Yentl/Anshel’s guiding hand after their marriage. Nehemiah Persoff is a warm and loving papa for Yentl, and Steven Hill serves the same function as Hadass’ father. Allan Corduner is also most likeable as another friend of Avigdor’s, but his role trails off in later reels.


Video Rating: 4.5/5 3D Rating: NA

The film is framed here at 1.66:1 and is presented in 1080p resolution using the AVC codec. Sharpness is often excellent but occasionally a little soft in certain shots. The color palette is muted and offers mostly browns and greens (in the commentary, Streisand admits she doesn’t like the color blue), but skin tones seem quite natural. Contrast varies according to the light levels (natural light was used whenever feasible), and black levels vary accordingly. The four minutes of scenes which have been added back for the Director’s Cut show obvious signs of wear with specks, scratches, and some slight debris. Still, this is the best the film has ever looked on home video, and it’s completely free of age-related artifacts except those included deletions. The movie has been divided into 32 chapters.



Audio Rating: 4.5/5

The disc offers DTS-HD Master Audio tracks in 5.1 and 2.0 stereo. While both are very effective in delivering the dialogue and the lovely music, the 2.0 track probably comes closer to the theatrical experience and was my audio track of choice. Dialogue and song lyrics are completely discernible, and the music gets a nice, full spread and offers quite impressive fidelity.


Special Features Rating: 4.5/5

Audio Commentary: Barbra Streisand and co-producer Rusty Lemorande are together for the commentary which she, understandably, dominates. Rather than spending time complimenting the actors or discussing the casting (which I would have found interesting), she explains the rationale behind her shot choices and camera placements, why certain scenes were shot in long takes, and how grateful she was to her crew who made sure she got whatever she wanted to realize her dream.Director’s Cut (2:17:00, HD): the menu offers the viewer either the theatrical version or the four-minute longer Director’s Cut.Film Introduction (1:46, HD): Barbra Streisand discusses the five years of preparation to get the film made.Deleted Scenes (16:45, HD): Streisand introduces the eleven cut scenes which are presented in montage.Introduction to the Bonus Features (3:02, HD): Streisand reminisces about problems she faced in filming and the symbols she used throughout the movie.The Director’s Reel (6:55, SD): some behind-the-scenes shots of Barbra directing the actors while appearing in scenes with them.The Rehearsal Process (29:32, SD): videos Streisand filmed with friends in makeshift costumes and props doing dry runs of certain scenes. Then the scenes are contrasted with what the movie’s shots looked like.My Wonderful Cast and Crew (7:29, SD): a Streisand montage of behind-the-scenes shots of the cast and crew working and relaxing with identifying titles thanking the people who made her dream possible.Deleted Songs/Storyboards (SD): “The Moon and I” (3:48) and “Several Sins a Day” (3:43)8MM Concept Film (8:35, SD): Mentioned several times in the commentary, this is the short film Streisand made in a makeshift costume walking around streets in a Czechoslovakian village to use as a selling point for any interested studios when she went seeking financing.Stills Galleries (HD): four galleries including Production, Behind-the-Scenes, Post Production, Recording StudioTrailers (1:27, 3:15, HD): teaser and theatrical trailers are offered individually.Six-Page Booklet: offers black and white and color stills and film historian Julie Kirgo's enthusiastic analysis of the movie.


Overall Rating: 4/5

Barbra Streisand’s first film as a named director, Yentl has magnificent singing and a simple, touching story that, if blown a bit out of proportion, is still an admirable technical and artistic achievement. There are only 3,000 copies of this Blu-ray available. Those interested should go to www.screenarchives.com to see if product is still in stock. Information about the movie can also be found via Facebook at www.facebook.com/twilighttimemovies.


Reviewed By: Matt Hough


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Matt Hough

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Vahan_Nisanain said:
Did Barbra actually cut her hair for this film, or did she wear a wig? Does she explain anywhere about this?
No, she doesn't talk about her hair at all in the commentary to my recollection. She does mention that "Papa, Do You Hear Me" was the last thing shot for the movie, and her long hair seems natural there, so I kind of doubt she cut it.

Let me add a personal story. When I first saw Yentl in an afternoon screening room, I was coming down with the flu, and the aches and queasy stomach and fever were coming on me minute-by-minute as the film progressed. I always felt guilty about the newspaper review I eventually wrote because I wasn't sure if I was actually giving the film its due since it seemed endless to me feeling so bad as it unfolded. Fortunately, I felt fine while reviewing the Blu-ray yesterday, so this is likely closer to my actual emotional response to the movie even if it is more than three decades since I filed that original review.
 

andySu

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Only seen Yentl (1983) on Hi-Fi stereo VHS rental around late 80's. Nice musical songs.

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UK quad poster.
 

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YENTL is one gorgeous movie. I remember seeing it way back in 1983, in Vancouver's (B.C.) Stanley Theatre. I was with a couple of friends and we all had a wonderful time - except for one lady friend who could only say: well, I liked Fiddler on the Roof better.
I for one was very impressed with Streisand's directing debut and to this day it's one of my favorite movies.
And yes, Yentl was wearing a wig....:)

sk
 

Michel_Hafner

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The review should mention that digital sharpening was applied to the transfer throughout. There are haloes because of it and sometimes a harsh video look instead of a film look.
 

Robert Crawford

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Michel_Hafner said:
The review should mention that digital sharpening was applied to the transfer throughout. There are haloes because of it and sometimes a harsh video look instead of a film look.
Because some people see DNR applied easier than others, did anybody else see this in their viewing of this BD?
 

andySu

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DNR all over this. And What makes anyone think 4k bluray will be any better next year?

The more things change. The more they stay the same.
I think I'll avoid this maybe the VHS panned and scanned rental will look like Super Panavision 70mm, with 1080p upscale. :P

Congress needs to pass a bill to outlaw the use of this and a stiff $5 million fine for any studio using any of the each should be fined DNR EE botched colors and dogy re-mixes that don't mirror and complain to original 70mm exhibition for home releases. I'm sick and tired of hearing about EE DNR.

Why should we consumers put up with the studios who are robbers. Enough is enough of DNR EE botched colours and dogy re-mixes.
 

Robert Crawford

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andySu said:
DNR all over this. And What makes anyone think 4k bluray will be any better next year?

The more things change. The more they stay the same.
I think I'll avoid this maybe the VHS panned and scanned rental will look like Super Panavision 70mm, with 1080p upscale. :P

Congress needs to pass a bill to outlaw the use of this and a stiff $5 million fine for any studio using any of the each should be fined DNR EE botched colors and dogy re-mixes that don't mirror and complain to original 70mm exhibition for home releases. I'm sick and tired of hearing about EE DNR.

Why should we consumers put up with the studios who are robbers. Enough is enough of DNR EE botched colours and dogy re-mixes.
So you bought this BD and have watched it?
 

andySu

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No I haven't brought it. The studio should go and do it again. Its a HD format there should be no excuses for this.
 

schan1269

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Had no intention of buying this on Blu, from no matter what source.But, how DNR is missed is beyond me. Granted, a "bit of DNR" is missed on LCD...cause the display tech introduces its' own halos/banding.But, what display do you use Matt?
 

Robert Crawford

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schan1269 said:
Had no intention of buying this on Blu, from no matter what source.But, how DNR is missed is beyond me. Granted, a "bit of DNR" is missed on LCD...cause the display tech introduces its' own halos/banding.But, what display do you use Matt?
In fairness to Matt, I just read another review from the other site and it stated there wasn't any signs of artificial sharpening in its review.
 

schan1269

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Robert Crawford said:
In fairness to Matt, I just read another review from the other site and it stated there wasn't any signs of artificial sharpening in its review.
I know. Asked the same question over there, to the same reviewer, but a different movie.That reviewer, on a movie, content wise, ranked badly and bunches of members over there tortured the guy over "not understanding the mission of the movie...and the fact it was shot that way"(remarked that the Blu had irregular skin tone, contrast etc).
 

Robert Crawford

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schan1269 said:
I know. Asked the same question over there, to the same reviewer, but a different movie.That reviewer, on a movie, content wise, ranked badly and bunches of members over there tortured the guy over "not understanding the mission of the movie...and the fact it was shot that way"(remarked that the Blu had irregular skin tone, contrast etc).
This was the same movie/BD that stated no artificial sharpening was present with this video presentation. Perhaps, the difference in screen size comes into play here?
 

schan1269

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Robert Crawford said:
This was the same movie/BD that stated no artificial sharpening was present with this video presentation. Perhaps, the difference in screen size comes into play here?
Could be the case. Also, many reviews don't mean much for me...based on visuals.The person, over there, that reviewed Post Tenebras Lux(not the movie I asked what display they used. No, I don't remember the specific movie) had no business doing that, specific, review. Back to this...on my Hitachi (being ALiS panels) DNR is obvious. On my Panny, not so much...unless excessive. The JVC/Screen Research tends to hide issues. But projectors aren't capable of the contrast that "half image size" plasma are capable of.
 

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andySu said:
That same blu-ray review says "...[color=rgb(51,51,51);font-family:verdana, arial, sans-serif;font-size:12px;]the film's transfer is rather resplendent most of the time, with a beautifully organic appearance that preserves a natural grain field... and[/color] "There are no issues with image instability, nor any problematic signs of artificial sharpening or filtering."

All I can say is the blu looks beautiful and much better than the upscaled dvd on my system. Of course, everyone's mileage may vary, but I certainly see no issues with DNR.
 

Matt Hough

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I have a 58" plasma and saw no obvious signs of DNR. I watched it twice (once for the film; once for the commentary). I'm not saying it isn't there, but I didn't notice it.
 

andySu

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Well maybe its soft focus that was used on the film. Soft focus would make it appear that way I guess. Some captures have misty look.
 

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