(But maybe it's just me. Hitchcock apparently wanted it pitch-dark, with just shadows & voices commanding this important climax scene.)And, likewise, the darkness of the 1999 transfer may be what Carpenter and Cundey wanted. Turning up the brightness on any intentionally dark film will reveal more detail. So what? Just because more detail can be made visible, it doesn't mean that it's meant to be seen. It seems to me that the goal of a transfer is to display the film as it is meant to be seen, not just what may look "better" and "more detailed" to someone.