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Phantom of the Paradise (Blu-ray)
[Blu-ray]
Blu-ray B - United Kingdom - Arrow Films Review written by and copyright: Samuel Scott (2nd February 2014). |
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The Film
 ***This is an A/V and extras review only. For reviews on the movie from various critics, we recommend visiting HERE.*** Brian De Palma’s inspired rock’n’roll fusion of Faust, The Phantom of the Opera and The Picture of Dorian Gray boasts an Oscar-nominated score by Paul Williams, who also stars as an evil record producer who not only steals the work of composer/performer Winslow Leach (William Finley) but gets him locked up in Sing Sing – and that’s not the worst that happens to him along the way. Few revenge scenarios have ever been so amply justified, but the film is also constantly aware of the satirical possibilities offered by the 1970s music industry, exemplified by Gerrit Graham’s hilariously camp glam-rock star. Jessica Harper (Suspiria) appears in her first major role as the naïve but ambitious singer, on whom Winslow secretly dotes. Prodigiously inventive both musically and visually, this is one of De Palma’s most entertaining romps, not least because it was so clearly a labour of love.
Video
Independent British distributor release Brian De Palma's oddity "Phantom of the Paradise" onto Blu-ray in the United Kingdom, using the original aspect ratio of 1.85:1. The transfer is 1080p, and uses an AVC MPEG-4 encode. All things considered, this transfer is a success. From the start, I found myself quite impressed with the transfer. Minor reflections in the glass wall overlooking the stage when Winslow first plays the piano look great, and surprisingly detailed. Even the small reflections of people and light in his spectacles are very good, which I would not have usually expected. There is also strong detail in clothes, faces and background items, with every out of place strand of hair or thread noticeable. Shadow detail can lack slightly on occasion, but at other times, shadow detail is excellent such as the scene where Winslow is found by the police beaten up on the ground before he is sent to jail. Blacks are generally deep, and the more vivid colours pop - even other dark colours such as the velvet red of the cape towards the end show great definition. There are some very rare moments where we get some specks in the print, and one or two scenes slightly lack the clarity and sharpness of the other 99.5% of the film, but there doesn't appear to have been any digital noise reduction, and the transfer looks natural, presenting solid overall depth. There are no major scratches or blemishes. The feature is uncut, and runs 91:35. NOTE 17/02/14: There has been talk on multiple forums that the colour grading is quite dark on this release and skin tones overly tanned, but also that the colours of clothing, background items etc are more natural in comparison to the French release. This was my first ever viewing of the movie, and I feel there are no causes for concern.
Audio
There are two audio options available here: - English DTS-HD Master Audio 4.0 - English LPCM 2.0 Stereo For my viewing, I opted for the English DTS-HD Master Audio 4.0 track, and like the transfer, it does enough to impress from the start. The film starts with a band called The Juicy Fruits playing a track, and in this time, all the subtle touches are apparent. The minor feedback caused by microphones sounds lifelike, the score is well balanced, and crowd noice well replicated. This high quality is present throughout the feature, though one scene did feel a little restrained to me. As Winslow escapes the tiddlywinks factory, crashing through scenery, this brief moment just didn't feel as though it had the depth of the rest of the track. Volume levels are consistent, and the score never overpowers the dialogue. There are no drop outs or scratches, and I noticed no background hiss. Optional subtitles have been provided in English for the hard of hearing.
Extras
The first extra is available via the audio options, and is an isolated score and effects track. This is essentially the movie without dialogue. The first extra from the extras menu, is the "Paradise Regained" documentary, which clocks in at 50:12. This is an in-depth look at the majority of aspects of the feature by way of interviews with various people involved in the production. Most interesting interviewee is director Brian De Palma, but the likes of Larry Pizer and Paul Williams also give some interesting tidbits of information. There's a wide range of participants, from all stages of production. They discuss the film's conception, the music, the casting, the critical reception, and much more. Next up, Guillermo Del Toro interviews Paul Williams in a whopping extra that runs 72:21. Now, for those that don't know Del Toro is a huge fan of De Palma, and he even referenced "Phantom of the Paradise" in his epic opening of an episode of "The Simpsons" he guest directed in 2013 (Youtube). You can tell from how relaxed both Del Toro and De Palma look that they are good friends, and that helps bring a well-paced interview that covers a lot of topics, including song choices, mannerisms of Swan in relation to classic films, how the score is an important layer of the film and much more. Truly fascinating. "The Swan Song Fiasco" featurette (11:24) looks at the legal affair surrounding the use of the name Swan Song in the feature after Peter Grant, manager of Led Zeppelin, started a Swan Song record label just before the film was released. Because of this, the film removed many instances of the use of its Swan Song signage, and this featurette shows elements of before and after changes in the feature. I never knew of this 'fiasco', and this extra gives a detailed showing of the many changes, including some of the reframing and changes to Death Records. Very much a worthy addition. Next up, we have an archive interview with Rosanna Norton (9:37) who was the costume designer. Shot on what seems to be the worst camcorder available in December 2004 (seriously, VHS?!), it's still a welcome addition. It seems to be self-made by Norton, but she details the various costume designs, the reasonings behind the style choices made, and how she kept with the thematic elements of the feature. "William Finley on the Phantom Doll" (0:34) is one of the most random extras I've seen for a while. It has William Finley looking at the "Phantom" action figure. Short and sweet, but welcome. "Paradise Lost and Found" is a collection of scenes from the cutting room floor running a total of 13:38. This includes some bloopers and some alternate and extended scenes which include a comparison with the finished film. Each scene is given a quick text screen saying exactly what it is, but not all the scenes feature the dialogue and instead have music played throughout. An audio commentary detailing the changes would have been a welcome addition, but these are well presented. The rest of the extras are self-explantory: Gallery Radio Spots (2:27) Theatrical Trailers (3:27)
Overall
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