- Joined
- Feb 8, 1999
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- Real Name
- Robert Harris
Marlon Brando's only directorial effort, One-Eyed Jacks, has always stood outside of the norm.
Positioned between old and new Hollywood, in both style as well as technical attributes, it was a film that 1961 audiences found confusing in some ways.
Bosley Crowther, then lead critic for the New York Times, commented:
"What is extraordinary about it is that it proceeds in two contrasting styles. One is hard and realistic; the other is romantic and lush. All the way through it runs a jangle of artistic ambivalence. It is as if it had been directed jointly by John Huston and Raoul Walsh."
Partially scripted, and partially based upon daily improvisation, much of the acting is stellar, while some falls to lessor levels.
The one thing that cannot be overlooked, is the magnificence of Charles Lang's VistaVision cinematography, which brings us to the new Criterion Blu-ray, as restored by Universal.
The technical folks at Uni have taken the surviving elements, and created a magnificent 4k restoration, with virtually everything in its place.
I note "virtually," as within its 141 minute running time, that's approximately 204,000 frames, or over 25,400 feet of film, I found a single instance of problem shot.
"Bloody good, sir!" A very necessary tip of the archival hat to Universal.
One-Eyed Jacks, while not the final film to be produced in VistaVision, was the final film to be released as such.
I should make note of a single error on the Criterion packaging, which makes note of the film as "Technicolor." While prints were struck at Technicolor in dye transfer, the film was shot on Eastman Color 5248.
Look carefully, the next time you watch The Magnificent Seven, and you may spot Marlon Brando's saddle from One-Eyed, beneath Eli Wallach.
My advice.
Just grab a copy of this one, and enjoy. For those who might wonder what VistaVision should look like on Blu-ray, this is it.
Image - 5
Audio - 5
4k Up-rez - 5*
Pass / Fail - Pass
Very Highly Recommended
RAH
Positioned between old and new Hollywood, in both style as well as technical attributes, it was a film that 1961 audiences found confusing in some ways.
Bosley Crowther, then lead critic for the New York Times, commented:
"What is extraordinary about it is that it proceeds in two contrasting styles. One is hard and realistic; the other is romantic and lush. All the way through it runs a jangle of artistic ambivalence. It is as if it had been directed jointly by John Huston and Raoul Walsh."
Partially scripted, and partially based upon daily improvisation, much of the acting is stellar, while some falls to lessor levels.
The one thing that cannot be overlooked, is the magnificence of Charles Lang's VistaVision cinematography, which brings us to the new Criterion Blu-ray, as restored by Universal.
The technical folks at Uni have taken the surviving elements, and created a magnificent 4k restoration, with virtually everything in its place.
I note "virtually," as within its 141 minute running time, that's approximately 204,000 frames, or over 25,400 feet of film, I found a single instance of problem shot.
"Bloody good, sir!" A very necessary tip of the archival hat to Universal.
One-Eyed Jacks, while not the final film to be produced in VistaVision, was the final film to be released as such.
I should make note of a single error on the Criterion packaging, which makes note of the film as "Technicolor." While prints were struck at Technicolor in dye transfer, the film was shot on Eastman Color 5248.
Look carefully, the next time you watch The Magnificent Seven, and you may spot Marlon Brando's saddle from One-Eyed, beneath Eli Wallach.
My advice.
Just grab a copy of this one, and enjoy. For those who might wonder what VistaVision should look like on Blu-ray, this is it.
Image - 5
Audio - 5
4k Up-rez - 5*
Pass / Fail - Pass
Very Highly Recommended
RAH
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