1940s, Adventure, Blu Ray, british, CLASSIC, dvd, Emeric Pressberger, film, FILM HISTORY, Michael Powell, OLIVE FILMS, review, safety pin, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, UNITED ARTISTS, WWII

ONE OF OUR AIRCRAFT IS MISSING (Olive Films Blu Ray)

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ONE OF OUR AIRCRAFT IS MISSING ( Olive Films) -Blu Ray-b&w.1942. 103 Mins. $29.95 http://store.olivefilms.com/War.67/Olive_Films.38/One_Of_Our_Aircraft_Is_Missing__Blu-Ray_.6319.html also available on DVD

ONE OF OUR AIRCRAFT IS MISSING (British National Films/U.A. (U.S.)) is a classic WWII war films is a must see for anyone who is an history buff, classic cinema, British Cinema, war films- heck anyone who enjoys a superlative film.

This was the inaugural film by The Archers, the producing team of Michael Powell and Emeric Pressburger. The two men would share directing credits on several films, including on another WWII drama, THE 49TH PARALLEL (General Films, Columbia ,1941) THE RED SHOES (General Films,1948), and BLACK NARCISSUS (General Films, U.I. ,1947) dissolving the partnership with one more WW II film, PURSUIT OF THE GRAF SPEE (J Arthur Rank,1956).

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Made as a propaganda film with full approval of the Ministry of Information, the film stands as an engrossing drama of courage of various types, with many exciting set pieces that are balanced by marvelous human moments. Done in a documentary style, the film has a marvelous sense of realism that is lacking in many other films of the period, even going so far as to shun a film score.

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It is hard to believe that the film went into production before a fully finished script was in hand, but Powell kept rewriting the film when the military consultants would mention new innovations. Powell would then work these ideas into the film. That the film seems seamless is a credit to all involved, editor David Lean (who had co directed parts of MAJOR BARBARA (General Films,1941) uncredited the year before).

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Also, major kudos to the effects team under Douglas Woolsey, who contributed realistic battle effects to several British films like CONVOY (Ealing,1940). The effects wizards could construct an amazing large scale replica of Stuttgart thanks to art director David Rawnsley who covered the entire studio floor with his miniatures. Effects Cameraman Freddie Ford filmed the sequence by laying on his stomach from the studio rafters floor ten hours a day to get some of the shots. So, convincing is it that it is easily blended with actual flying footage. That the film cost only £700,000 is a miracle.

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When the film was first released by United Artists in the United States, they edited out 20 minutes of footage, which, while probably allowing for more showings per day, probably robbed the film of much of its power. Still, the film is so well crafted, that it received two Academy Award nominations. Oddly, this was Michael Powell’s only Oscar nomination. Due to its critical as well as financial success J Arthur Rank offered Powell and Pressburger a film by film deal to choose any subject they wanted.one-of-our-aircraft-is-missing-movie-poster-1942-1020198733

 

The movie opens with a title letting the viewer know that the film was made with the full cooperation of the Royal Air Force, the Air Ministry, and the Royal Netherland Government in exile at that time in England. It is then followed by a telegram informing us that five farmers in the Netherlands were executed by the Nazis for helping several downed British Airmen escape the country. We then jump to an airfield in England where we see that a British bombing squadron is returning, all save one. The Vickers Wellington bomber designated “B for Bertie” has not returned.
We then see the plane flying over the ocean, but that it is completely empty of crew. Finally flying over land, the ghost plane crashes into some power lines and explodes.vlcsnap-00409
This opening is an exciting tease for the tale that unfolds as we jump back in time and are introduced to the brave crew of “B for Bertie”. The flight crew is made up of
– Sir George Corbett (Godfrey Tearle, memorable from Hitchcock’s THE 39 STEPS (Gaumont-British,1935)) the old man of the group, going on one last mission as the tail gunner,
-former pro soccer player tuned radio operator Bob Ashley (Emrys Jones in his film debut, who later did a lot of British television and stage work),
-pilot John Haggard (Hugh Burden, who years later appeared in the film ONE OF OUR DINOSAURS IS MISSING (Disney,1975), a title that references this film),
-farmer turned second pilot Tom Eanshaw (Eric Portman, who a year earlier was a fleeing Nazi in THE 49TH PARALLEL for the same production team. ONE …. is a variant of that film. In 49th, a Nazi U-Boat squad must try to evade capture in Canada when their vessel is destroyed, and flee to the then neutral United States. One of his earliest film roles Portman had appeared in a Tod Slaughter production (MARIA MARTEN, or THE MURDER IN THE RED BARN (George King Productions,1936)),
-Cockney front gunner Geof Hickman (Bernard Miles, later the second actor after Lawrence Olivier to be given a peerage)
-and former actor turned navigator Frank Shelley (Hugh Williams, who later with his wife Margaret Vyner wrote the stage play and later screenplay for THE GRASS IS GREENER), who is obsessed with his wife’s upcoming BBC radio performance.

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The squadron takes off, and soon they are over their target. The bombing mission is a mixture of actual flight footage mixed in seamlessly with effects sequences. After dumping their payload, “B for Bertie” is struck by anti-aircraft fire, and the crew is forced to bail out over occupied Holland. As we had seen earlier, the plane did not crash until it had reached England.

 

Five of the crew regroup, but find that Bob is missing. Trying to decide what to do next, they come across some Dutch children. Not sure if they will turn them in or help, the children explain that they support the British, and can be identified by the safety pins that they wear, a sign against oppressors and to keep together. Currently, this symbol is once again popular, first in England due to those who opposed Brexit (feeling that everyone was stronger together) and now in the United States as a symbol against oppression perceived in the Trump administration.

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The children bring the airmen to meet teacher Else Meertens (Pamela Brown, in her film debut. A successful stage actress, she would live with director Michael Powell until her death in 1975). She questions the airmen to see if they are not disguised infiltrators. Satisfied that they are who they say they are, the Dutch disguise them and try and slip them by the Nazis via bicycle. A brief stop at a church has them nearly caught when the Nazis stop there after they discover one of the parachutes. Look for a young Peter Ustinov (later to star in ONE OF OUR DINOSAURS IS MISSING) in his film debut as the priest. The organist Alec Clunes had given Ustinov his first stage acting break, and is perhaps best known for having played Hastings in Olivier’s RICHARD III (London Films,1955).

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Stopping at the home of the local Burgomaster (Hay Petrie, famous for playing many of Shakespearean clowns on stage during the 1920s,he had a long and varied film career, hoping from comedy to drama with ease),they are confronted by Dutch collaborator De Jong (ballet dancer/actor Robert Helpmann, perhaps best known for portraying a choreographer in the film THE RED SHOES (General Films/J Arthur Rank,1948)and who in 1978 broke his back while filming the Australian horror film PATRICK (Australian Int./Filmways)!)but who has the tables turned on him.swedish_one_of_our_aircraft_is_missing_r_ja00169_l                                                                                      (Polish  film poster)

Back on the road they see a football match being played, and among the players is their missing crewman Bob! Once again, the Nazis appear, and say that there are too many people at the gathering and 50 people must leave. The Burgomaster says that then they will all disperse, to annoy the Nazis sense of control and order. The Nazis allow them all to stay. The brilliance of this simple and courageous act of defiance is truly quietly moving.

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They are escorted out in some supply trucks, but when the Nazis wish to search them, they are confronted by Jo De Vries (Googie Withers, probably best known for appearing the haunted mirror segment of DEAD OF NIGHT (Ealing,1945) who with quiet authority gets the trucks safely through a check point. It should be pointed out that the women in this film have strength, intelligence and courage, and are in positions of authority. De Vries hides the airmen in her own home, letting the fliers know that she is thought to be pro German since she lets it be known that her husband was “killed” in a British raid, but she knows him to be safe in England working as a Voice of Freedom for Radio Orange). This is even more dangerous as the Nazis are garrisoned on her property.

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They are awaiting an air raid, when the German Soldiers are ordered into their bunkers and De Vries can slip them into the cellar unseen where there is a secret inlet that leads to the river and a boat awaits them. While they wait, there is some magnificent dialogue where courage, loyalty, and bravery are discussed.

Finally, the raid occurs, and the escape attempt begins in earnest. Will the brave air men get back home to England?

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The Blu Ray does not have any extras, but the film is so superior, it is worth the purchase price, as I feel it will be a film you would watch over and over. The movie has been out on the home video format since VHS, but the quality was always of a very washed out print. The Olive Films is the complete 103 British print from the best elements possible.   This release very sharp black and white images that complement the cinematography of Ronald Neame (later to become a producer with David Lean on such classics as BRIEF ENCOUNTER (Eagle Lion, Universal,1945) before becoming a director in his own right (POSEIDON ADVENTURE, Fox ,1972). The mono sound is clear and hiss free. Optional English subtitles are clean, easy to read and follow the action and dialogue.one-of-our-aircraft-is-missing-united-artists-1942-title-lobby-card

Highest Recommendation.
-Kevin G Shinnick4696633_l6

Thanks to John F Colaresi for catching some errors.

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RETURN OF DRACULA -Blu Ray -Olive Films

51zquv8e5slTHE RETURN OF DRACULA (April 12,1958) Blu Ray -Olive Films -Available October 18,2016. $29.95 B&W/color 77 minutes. https://www.amazon.com/Return-of-Dracula-Blu-ray/dp/B01JLWZNJU

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One of the most sadly neglected of the Dracula films is THE RETURN OF DRACULA, One of four horror films produced by Gramercy Pictures (the others being THE VAMPIRE and THE MONSTER THAT CHALLENGED THE WORLD (1957) (released as a co bill) and THE FLAME BARRIER (1958) (which was the co bill for RETURN OF DRACULA) and released through UNITED ARTISTS, they were well made well-acted horror films that are often overlooked as they were not part of the AIP or Hammer Films of the 1950s. Indeed, one month later, Hammer released its Technicolor masterpiece, HORROR OF DRACULA (distributed by Universal) and many other terror films got left in the dust.

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(In England, the film was known as THE FANTASTIC DISAPPEARING MAN !)

OLIVE FILMS new Blu Ray release gives the movie a proper release for its re-evaluation. It had previously been released on VHS by MGM and on an MGM/MIDNIGHT MOVIE co bill with THE VAMPIRE. Both have been out of print for years.

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The new OLIVE FILM Blu Ray looks a bit sharper than the MGM DVD that I compared it to. The old disc tended to sometimes be too dark in places (I have not seen the new OLIVE FILMS DVD (available via https://www.amazon.com/Return-of-Dracula/dp/B01JLW5YSU ) but I am sure that it is also less dark). The picture looks amazingly sharp for a 58-year-old film shot for $125,000.

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The film’s screenplay (by Pat Fielder, who wrote all 4 of Gramercy’s horror/sci fi films) echoes that of SHADOW OF A DOUBT and SON OF DRACULA (both Universal,1943) wherein a mysterious stranger arrives and turns the lives of a small town upside down.

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                                                                   (Old Super 8mm release )

In SHADOW, it is Uncle Charlie (Joseph Cotten) who is a notorious serial killer who returns to his hometown to elude his pursuers. In SON, it is Dracula himself (Lon Chaney Jr) under the alias of Alucard who is hiding out in a small bayou Southern town.

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 The  Return of Dracula 

RETURN begins with several vampire hunters led by Dr Merryman (John Wengraf, a German actor who fled Hitler’s madness, only to be often typecast in Hollywood as a Nazi!) in an unnamed Central European country. The opening narration tells the legend of Count Dracula, though it never directly refers to the vampire in this film as the Count himself (the novel was public domain in the U.S. since Stoker failed to comply with a portion of the U.S. Copyright Law. However, it was still under the Berne Convention copyright until 1962 in the U.K. and other countries. Hence the clever way of referencing the character but never saying if it is him or not). They are in a crypt (the name on the side of the coffin is Grof Naov Istvan, but that may be one that monster has merely taken over), awaiting sunset to stake the vampire, but at the precise moment when the coffin is flung open, they find it is empty.

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We jump then to a train station wherein an artist named Bellac Gordal (an uncredited Norbert Schiller, who would later play a small role in YOUNG FRANKENSTEIN, Fox,1974) is being allowed to leave and go to America. It is hinted that they are in an Iron Curtain Country, and that he is fleeing to be able to paint without government obstruction. Once he boards the train, his fellow passenger (whom we see only behind a newspaper, which is itself supernatural, changing in 3 quick cuts from the German Berliner Tageblatt to a Hungarian Maygar Szo then inside the German paper MODEN-SPEIGEL, which has English on its back page!) attacks him.

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We jump again now to a small California town of Carleton where a young boy Mickey (Jimmy Baird) plays in an abandoned mine (Bronson Cavern once again), and decides to leave his unseen kitten trapped in the mines shaft (who gave this kid a pet?) when he hears a train whistle and tells his family of the arriving train. It seems the Cora Mayberry (Greta Granstedt) is expecting her cousin Bellac whom she hasn’t seen since they were children. When they get to the station, they are told that no one has left the train but that some mysterious luggage has been left. However, a strange man well-groomed man (Czech born stage and film actor Francis Lederer) appears on the platform.” Cora?” he says. She takes him for Bellac and the family takes him home.

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Rachel Mayberry (Norma Eberhardt ),the family’s teenage daughter, is particularly drawn to her uncle as she is an artist and fascinated by his (un)worldliness. Bellac has several quirks (no mirrors in his room, sleeping throughout the day) which they accept as probably the result of artistic temperament or ill treatment in his native land. Rachel’s boyfriend Tim Hansen ( Ray Stricklyn ) is not such a big fan of the new arrival. Meanwhile, Mickey discovers that his kitten is dead, covered in blood (what did you expect though kid? You left it in a mine shaft?).

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Rachel takes Bellac to meet her friend Jenny ,( Virginia Vincent )who is ill and blind . Unfortunately, Bellac decides that she is to be is to be his next victim. We see that Bellac has his coffin within the abandoned mine.
He awakes within and in slow motion his hand creeps spiderlike out of the box and opens it. The vampire then sits up through a haze of dry ice and sits up and opens his eyes. Bellac tells the blind woman that she can see him, but when she stares, she screams and becomes a victim of the undead.

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Dr Merryman arrives in town looking for his quarry, and things start escalating with a vampire staking (a brief flash of color as blood oozes out, which must have made people jump at the time, and a bit of expense splicing that into prints), ending with a final confrontation within the old mine.

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The film moves really quickly, and wastes no time of its short span. The actors pretty much play easy stereotypes (mother, teenage daughter, bratty younger brother, the boyfriend) with the film belonging to Lederer. Wearing his overcoat as a cape and his brylcreemed hair looks like an older gigolo, but perhaps that is fitting for a great seducer. He makes great use of his voice and stillness, and draws attention to himself in every scene that he is in.

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The Blu Ray has strong deep blacks but doesn’t lose details in the night scenes (indeed, except for the first scene, the whole film takes places at night or interiors.). The mono sound is clear and free of hiss, and the score by Gerald Fried (using a frantic and booming “Die Irae “) properly propels the movie along.
The subtitles are clean and easy to read and follows the dialogue exactly. The only extra is the film’s trailer.

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While I would have liked a commentary track of some sort, I do not think that you will be disappointed by adding this Olive Films Blu Ray of THE RETURN OF DRACULA.

Recommended.

-Kevin G Shinnick

Ps- Francis Lederer returned and this time was indeed DRACULA when he appeared as the Count in an episode of T.V.’s NIGHT GALLERY. In the episode,” The Devil Is Not Mocked”, he dispatches of some very nasty Nazis.

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1950s, CARL FOREMAN, CLASSIC, cult, dvd, FLOYD CROSBY, Gary Cooper, genre, GRACE KELLY, HIGH NOON, LON CHANEY JR, review, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, UNITED ARTISTS, Western, westerns

HIGH NOON – Olive Films Blu Ray and DVD Signature Release

high-noon-boxHigh Noon -1952 United Artists. b&w 82 minutes. – (Olive Films Signature Edition) Blu-ray $39.95

http://store.olivefilms.com/Western.68/Olive_Films.38/High_Noon___Olive_Signature__Blu-Ray_.6289.html

Also on DVD $19.95 http://store.olivefilms.com/Classic_Cinema.62/Olive_Films.38/High_Noon__DVD_.5412.html

HIGH NOON to me is one of the great westerns yet until the very end it has little in the way of out and out action. Instead, the film is a very tense thriller that literally uses a ticking clock leading up to an explosion of violence. Instead the movie is a tense character study of what makes a hero.maxresdefault-1

The film was done on a modest budget ($750,000) on a 31 day shooting schedule, by a behind the camera team who had never done a western before. The modest film upon release became the 8th most profitable films of 1952 (in a year that gave us SINGING IN THE RAIN(MGM), THE BAD & THE BEAUTIFUL (MGM)THE QUIET MAN (Republic), and THE GREATEST SHOW ON EARTH (Paramount).

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Then fifty-one-year-old star Gary Cooper was in poor health (yet continued to star in 14 more films and one uncredited cameo over the next nine years) and took a pay cut for a percentage of the profits when he took the role of Sheriff Marshall Will Kane. His 22-year-old leading lady (Grace Kelly) had made only one film prior (and several TV roles) to starring with this cinematic icon, yet her personal charm kept her from becoming a merely decorative character.9402c4104d6186400401d879d33830e5

The filmmakers surrounded the leads with marvelous supporting players, such as veterans like Lon Chaney Jr (in one of his most subtle and moving performances that it still surprises me that he was not even nominated for a best supporting actor Oscar) and Thomas Mitchell as well as rising character performers as Jack Elam (here playing a town drunk) and making his film debut in a silent but important role, Lee Van Cleef.high_noon_lon_chaney_jr

The production partnership of Stanley Kramer and Carl Foreman, as well as writer Herbie Baker, publicist George Glass formed Screen Plays, Inc. in 1947. Their first film SO THIS IS NEW YORK (MGM,1948) flopped but their second CHAMPION(U.A.,1949) was a big hit both critically and financially. CHAMPION won an Academy Award for film editing as well as nominations for star Kirk Douglas and screenplay writer Carl Foreman (both of their first two films were Foreman’s adaptations of two Ring Lardner stories).

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The team went on to produce HOME OF THE BRAVE(U.A.,1949), the first of the social dramas that Stanley Kramer would be known for and again written and co-produced by Foreman. Next came THE MEN(U.A.,1950), with an original screenplay by Foreman and the first time that Kramer would work with director Fred Zinnemann. Their string of hits continued with CYRANO DE BERGERAC (U.A.,1950), based upon the 1897 Edmond Rostand, translated by Brian Hooker and a screenplay by Carl Foreman and an uncredited Orson Welles. The film flopped at the box office but earned an Oscar for star Jose Ferrer.

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Columbia Pictures offered the production team a five-year contract to form a production unit to make films of their choosing for roughly a million dollars each movie. The offer was accepted but first they had to complete their final independent production,
HIGH NOON.high-noon2-1952Ironically, for a film about a man who stands up for what he believes in as others abandon him, Kramer abandoned his partner Carl Foreman and his personal ideals for commerce. Foreman had been a member of the Communist Party ten years earlier and was called before the House of Un-American Activities (HUAC). He was considered an “uncooperative witness” by the committee. To save his deal with Columbia, Kramer dissolved their partnership. He still gave Foreman credit for his screenplay, but did not let him get a producer’s credit.

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Kramer went on to be a major Liberal voice in his films until 1979, making many films that have become classics of cinema. His treatment of his former partner is a black eye to his memory, though, to be fair, few could stand up to the monster that was HUAC. The partners never spoke again. Foreman took his family to England, as did many who were blacklisted, and continued to write screenplays for such classic as BRIDGE ON THE RIVER KWAI (ironically for Columbia ,1958, and Foreman was only awarded his Oscar for Best Adapted Screenplay posthumously).

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(producer Stanley Kramer)  

The film’s story is simple enough. Frank Miller (Ian MacDonald, who had appeared in WHITE HEAT, WB ,1949, as the truck driver who recognized undercover agent Edmond O’Brien), a criminal whom Sheriff Will Kane (Cooper, looking world weary) sent away is being released from prison and will be arriving in the small town that day on the noon train. He has vowed to kill Kane in revenge. Kane has also just married his Quaker wife Amy (Grace Kelly) who urges him to leave the town. Kane wants to stand his ground, and ties to organize the townspeople to stand up to the criminal and his gang. However, the town is more than willing to leave Kane handle things alone if it will ultimately bring peace to the town. Only a shaky eye patched man is willing to stand by Kane and he of course would be of little help. The former sheriff, Martin HoweLon Chaney Jr )would like to help but his illnesses prevent him from being of any use either. Kane sends his wife away as the time for the confrontation draws near. The sheriff now must stand alone against the murderous outlaws as the time arrives.

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The simple description above does not do justice to this wonderful film. The acting, the direction by Fred Zimmerman , the cinematography (by Floyd Crosby, who won a Golden Globe for his work on this classic, later ended up lensing a lot of A.I.P.’s horror and science fiction classics, and by the way is the father of David Cosby of THE BYRDS fame), the editing and the music all work perfectly to tell this tale of courage.

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Critics at the time were rather mixed in their reception to the film. Even John Wayne (who turned down the role of the Sheriff) attacked the film, and often said that he and Howard Hawks made RIO BRAVO (WB,1959) in response.fred-zinnemann-seated-floyd-crosby-gary-cooper-and-the-crew-ofhigh-noon-michael-j-cinema

 

Audiences, however, flocked to the film, and the film made $3.4 million dollars on its $730,000 investment. The film also won many awards, including four Oscars (Best Actor, Best Film Editing, Best Music (Dimitri Tiomkin) and best song (Dimitri Tiomkin & Ned Washington for “Do Not Forsake Me, Oh My Darlin’”, sung by Tex Ritter). Incongruously, John Wayne accepted the Oscar for Gary Cooper. Here is a clip from the 25th Academy Award, held March 19,1953, and the first one televised:

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The film was nominated for but lost Best Director, Best Picture, and Best Writing/Screenplay. Katy Jurado won a Golden Globe Award for Best Supporting Actress for her role as Helen Ramírez, the first Mexican actress to receive the award. Crosby’s cinematography also was a Golden Globe recipient.

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The OLIVE FILMS BLU RAY reviewed here puts CRITERION on notice that there is another company that knows how to give classic films the Deluxe Treatment they deserve. HIGH NOON and JOHNNY GUITAR (not seen by this reviewer) are the premiere films from Olive Films’ Signature series, and if this film is any indication, film lovers will be happily paying to get these collectible treasures for their collections.

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HIGH NOON has been beautifully presented in its original 1.37:1 aspect ratio. You will note black bars or both the left and right side of the screen but after a few moments, you will cease noticing them. The 1080p 4 K scan brings out the very rich black and white details, letting you see the beads of sweat on Cooper as he desperately seeks out his posse, as well as detailing in the costuming and the sets clearer than they have been seen in years.

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The sound is presented in its original mono audio in a hiss free DTS-HD Master Audio track. Whether using the television sound or outside speakers, the sound is rich and clear. The yellow subtitles are clean and follow the action and dialogue perfectly.

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The work above would make the Olive Films Signature Release worth having, but they have added some superior extras.

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Inside the cardboard cover is a clear digipack slipcase containing the single disc. The cover art can be reversed and used with a panoramic view of Cooper walking the town’s empty streets.

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Besides the disc is a nice little booklet written by Nick James of Sight & Sound Magazine called ‘Uncitizened Kane “wherein it talks about Cooper in THE VIRGINIAN (Paramount,1929) and the Cooper in this classic film. This is also available on the disc to read by skimming through using your directional arrows.

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Also on the Disc:

“A Ticking Clock” – Director (THE PUNISHER, New World,1989) / Editor Mark Goldblatt talks in detail about the importance of the editing of HIGH NOON.

 

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“A Stanley Kramer Production”-Producer Michael Schlessinger (DARK & STORMY NIGHT, Shout Factory,2009) talks about Producer/Director Kramer and his career.

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Ulcers & Oscars: The Production History of High Noon” – the late Anton Yelchin (Chekov in STAR TREK: BEYOND, Paramount ,2016) narrates this marvelous behind the scenes story.

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Trailer – Not the original 1952 trailer (“Stanley Kramer’s Masterpiece of Suspense!”, Presented by World Entertainment Corp.), this gives you an idea how the film used to appear before the painstaking restoration.

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The only quibble (am I too greedy?) that I had is that I wish that they had found and added the 2 hour PBS documentary “Darkness at High Noon: The Carl Foreman Documents “(PBS,2002), though it was made when all the people involved were long dead, and perhaps unable to defend themselves against various charges (it was not very favorable to Kramer). Perhaps someone will release the documentary as its own separate disc.

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Still, this is a must have for any collector of classic American Films.

HIGH NOON continues to resonate in society today. A Polish Political Poster in 1989 even used the iconic Cooper sheriff image.w_samo_poludnie_4_6_89-tomasz_sarnecki

There have been indirect sequels and remakes for television, and it was recently announced that Relativity Pictures is remaking the film, though setting it Present Day. http://variety.com/2016/film/news/relativity-remaking-high-noon-present-day-1201862842/

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However, none of these have come close to the film that was the first film selected for preservation in the United States National Film Registry by the Library of Congress.

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Rush out and get the Olive Films Signature Release of HIGH NOON.

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HIGHEST RECOMMENDATION.

-Kevin G Shinnick

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