In a word: stunning. This is the third release of The Ladykillers since 2010 – I purchased both the 2010 and 2015 restored versions. However, this is the first 4K scan from the original 3 strip Technicolor negative and the result on the 4K UHD disc, when projected, leaves the blu-ray looking decidedly lacking. The DVD is just hilarious – why they would include something as useless at that, is just beyond me.

Looking at the Rank organisation gong-beating logo at the start got me thinking about what is going to happen, when StudioCanal start releasing 4K UHD versions of Powell and Pressburger…..

IMG_2851.jpg 4K.jpg 2K.jpg 480.jpg
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titch

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david hare

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Thx for the screens. Am I alone ikn wondering about the stock? Amazon UK dioesn’t export now outside the EU and UK and Zavvi who does is constantly out of stock.

Anyone else?
 

titch

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Thx for the screens. Am I alone ikn wondering about the stock? Amazon UK dioesn’t export now outside the EU and UK and Zavvi who does is constantly out of stock.

Anyone else?
It doesn't look like Zaavi has the 4K UHD set - don't bother with the standalone blu-ray, if you can play 4K discs. If it's any comfort, there isn't any notice saying that this is a "special limited edition". I'm sure you will be able to get hold of a copy when normal service is resumed in the future.
 

Angelo Colombus

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I been looking to get it and on website Diabolik it has the status of "coming soon". But would rather wait until they have it in stock then i will buy it. Another thing is paying $55 for it.
 

titch

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I been looking to get it and on website Diabolik it has the status of "coming soon". But would rather wait until they have it in stock then i will buy it. Another thing is paying $55 for it.
Yes - this year has been the most expensive year I've ever had in the home theatre hobby, including the laserdisc era, when Criterion triple disc sets retailed for $125 a pop. I don't like the trend of issuing a 4K UHD disc in an enormous box, stuffed with various other bits and pieces. I only want that little shiny disc!
 

titch

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It would probably be cheaper for US residents, if StudioCanal released this amazing restoration Stateside - it might just take a couple of years (the John Carpenter sets and The Deer Hunter were released in Europe in 2018). Would be interesting to see if European StudioCanal releases, which Criterion have licensed, would get US 4K releases via other labels ( Don't Look Now and The Elephant Man).

 

Angelo Colombus

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Just got the notice that Rarewaves is shipping out the UK box set. I guess i could have waited for a domestic release but it's a Christmas gift....to me! :emoji_christmas_tree:
 

david hare

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It will he handled in the States by Lionsgate or possibly Kino Lorber. Whether or not the UHD is included I dunno but it most likely will. Even the BluRay looks like the new master. I hope they go for less deluxe packaging and price.
 

titch

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It will he handled in the States by Lionsgate or possibly Kino Lorber. Whether or not the UHD is included I dunno but it most likely will. Even the BluRay looks like the new master. I hope they go for less deluxe packaging and price.
The blu ray looks pretty good too. But if you can project, there's no question about how gorgeous the 4K disc looks.

Caps-a-holic have posted caps for the blu ray only. (And they don't compare with with 2015 60th anniversary remaster either.)

 

david hare

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Thx again Kevin. I have a dl of the blu but I was able to do a quick and easy order for the UHD set through Rarewaves. They also have the Melville Le Cercle Rouge UHD/BD double. As you know there's some speculation out there about this one. Again to my eyes the Blu Ray looks very good indeed, a new 4K scan and restoration from Canal, but it follows the color grading direction Criterion adopted years ago for their older Blu for which Lee Kline also took on board advice from Henri Decae, the DP about color, timing and grading. Anyway, the Blu looks terrific as I say but the UHD (from caps so far at Caps-a-holic for me) looks bloody awful, like a totally different beast. Speculation abroad is that Canal have once again screwed up the DV/HDR layers and it's affecting the color balance and everything else in playback. "Dr" Svet's review at bdr makes the claim - completely without foundation - that the warmer tone is an after the event 'reinterpretation". It's not. That's what a first run 35mm print looked like to me in the seventies and again in reissue prints from the 80s. Only on the two movies Melville shot with DP Pierre L'Homme did they go for the near desaturation to blue and gray, that they wanted for the subject matter and period of Un Flic and L'Armee des Ombres. Henri Decae shot both Le Samourai and Cercle Rouge for Melville and the more "natural" lighting, timing balance and palette in both is similar. THey are also something of siubling movies, with Delon in the lead. For those "famous' Melville blues they staged the sets with large blue statement walls and lighting gels for scene after scene so the color plays a part in the production design, rather than the photography. Anyway thanks again for Rarewaves, extremely useful for us in the South Pacific and amazon banned GST mayhem. For the record they also have the UHD of the Godard Breathless.
 

titch

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Thx again Kevin. I have a dl of the blu but I was able to do a quick and easy order for the UHD set through Rarewaves. They also have the Melville Le Cercle Rouge UHD/BD double. As you know there's some speculation out there about this one. Again to my eyes the Blu Ray looks very good indeed, a new 4K scan and restoration from Canal, but it follows the color grading direction Criterion adopted years ago for their older Blu for which Lee Kline also took on board advice from Henri Decae, the DP about color, timing and grading. Anyway, the Blu looks terrific as I say but the UHD (from caps so far at Caps-a-holic for me) looks bloody awful, like a totally different beast. Speculation abroad is that Canal have once again screwed up the DV/HDR layers and it's affecting the color balance and everything else in playback. "Dr" Svet's review at bdr makes the claim - completely without foundation - that the warmer tone is an after the event 'reinterpretation". It's not. That's what a first run 35mm print looked like to me in the seventies and again in reissue prints from the 80s. Only on the two movies Melville shot with DP Pierre L'Homme did they go for the near desaturation to blue and gray, that they wanted for the subject matter and period of Un Flic and L'Armee des Ombres. Henri Decae shot both Le Samourai and Cercle Rouge for Melville and the more "natural" lighting, timing balance and palette in both is similar. THey are also something of siubling movies, with Delon in the lead. For those "famous' Melville blues they staged the sets with large blue statement walls and lighting gels for scene after scene so the color plays a part in the production design, rather than the photography. Anyway thanks again for Rarewaves, extremely useful for us in the South Pacific and amazon banned GST mayhem. For the record they also have the UHD of the Godard Breathless.
Really interesting to hear your views on Le Cercle Rouge! Films buffs like yourself, who were around to see actual release prints (unlike either myself or Dr Svet) and have information about colour grading and timing, are the best source of information - when companies don't bother to provide any information about how they go about restoring films. The Ladykillers is the exception for StudioCanal and Robert Harris shared an additional link for an in-depth restoration description.

 

Robert Harris

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Really interesting to hear your views on Le Cercle Rouge! Films buffs like yourself, who were around to see actual release prints (unlike either myself or Dr Svet) and have information about colour grading and timing, are the best source of information - when companies don't bother to provide any information about how they go about restoring films. The Ladykillers is the exception for StudioCanal and Robert Harris shared an additional link for an in-depth restoration description.

It’s all about research, and locating original release reference prints, that can be vetted a true reference. Nothing else matters, unless you have the director and / or DP, who are not only in great mental shape, but retain decent color memory - something far more difficult than it may sound.

It’s an extremely slippery slope. On MFL, for example, we had no director or DP, but did have the help of Gordon Willis, who knew the DP’s every move, (they’d worked together) and Gene Allen, the production designer, who was able to explain the actual color of sets and costumes, how they photographed on 5251, and how they appeared on film, both 70mm direct contact Eastman, as well as dye transfer, the prints of which had several different looks, all of which that could be considered correct.

The key was found in a single reel of a very early magnetic dye transfer print that could serve as a veritable Rosetta Stone.
 
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Derrick King

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Would be interesting to see if European StudioCanal releases, which Criterion have licensed, would get US 4K releases via other labels ( Don't Look Now and The Elephant Man).

Both of those films US rights are owned by Paramount, and since they do not license UHD rights, they would have to be the one to release them.