Universal: Alfred Hitchcock: The Masterpiece Collection
- Gordon
- Joined: Thu Nov 11, 2004 8:03 am
- hearthesilence
- Joined: Fri Mar 04, 2005 4:22 am
- Location: NYC
Didn't Truffaut mention this in his book? It's been a long time since I read it, but I remember him saying it was dreadful because of Hitch's age (and possibly a mention that some judicious editing salvaged it for TV). He mentioned some earlier celebration from roughly the same period that was supposedly better, with Hitch apparently in much better health/spirits.kieslowski_67 wrote:That's great. Ingrid Bergman was really the host of that show and I want to see Hitch's response when Ingrid gave the key (used in 'notorious') back to him as a gift.TechNoir wrote:The June 11 edition of Video Business says that Psycho will include such new bonuses as making of footage, behind the scenes photos and storyboards. The bonus disc will include AFI's Salute to Alfred Hitchcock.
- manicsounds
- Joined: Tue Nov 02, 2004 10:58 pm
- Location: Tokyo, Japan
Just to get this straight, since this is OFFICIALLY on the universal site:
(In my own words though)
ALL films are going to be DIGITALLY REMASTERED,
and ANAMORPHIC where applicable.
PSYCHO and VERTIGO will indeed be 16x9!
Also,
VERTIGO will include the remixed 5.1 from the 1996 restoration,
and the ORIGINAL MONO soundtrack (for the first time on DVD)
Seems like Universal is getting the idea how important mono is.
(Like the new JAWS release)
(In my own words though)
ALL films are going to be DIGITALLY REMASTERED,
and ANAMORPHIC where applicable.
PSYCHO and VERTIGO will indeed be 16x9!
Also,
VERTIGO will include the remixed 5.1 from the 1996 restoration,
and the ORIGINAL MONO soundtrack (for the first time on DVD)
Seems like Universal is getting the idea how important mono is.
(Like the new JAWS release)
-
- Joined: Tue Nov 02, 2004 2:27 pm
- Location: London, UK
- Godot
- Cri me a Tearion
- Joined: Sat Nov 06, 2004 12:13 am
- Location: Phoenix
With SRP of $119.98, Amazon currently has it listed at 30% off ($83.99), which is $6.00 per film. Since only 11 of them are letterboxed, that means $7.64 per anamorphic enhancement. If you can wait for the expected 20% off DDD sale, the set would be $69.12, or $4.94 per film, or $6.28 per anamorphic enhancement.
Just testing the new batteries in my slide rule.
Just testing the new batteries in my slide rule.
- justeleblanc
- Joined: Wed Nov 03, 2004 6:05 pm
- Location: Connecticut
- dx23
- Joined: Tue Nov 02, 2004 8:52 pm
- Location: Puerto Rico
From dvdtimes.co.uk:
http://www.dvdtimes.co.uk/content.php?contentid=57539Universal Studios Home Video have announced the Region 1 DVD release of Alfred Hitchcock: The Masterpiece Collection for 4th October 2005 priced at $119.98 SRP. This 15 Disc collection brings together 14 Hitchcock classics plus a bonus disc in a special gift set collection. Released on the same day is Alfred Hitchcock Presents Season 1.
All 14 films are digitally re-mastered for the best quality ever with all bonus features from the existing releases carried across. The films are: Saboteur, Shadow of a Doubth, Rope, Rear Window, The Trouble With Harry, The Man Who Knew Too Much, Vertigo, Psycho, The Birds, Marnie, Torn Curtain, Topaz, Frenzy and Family Plot.
The all-new bonus disc showcases Hitchcock's films, career and legacy through a series of documentaries, while the set is presented in ultra-premium velvet packaging which includes a 36-page collectible book.
Individual disc specs follow...
Disc 1: Saboteur
English DD2.0 Mono
English, French and Spanish subtitles
Saboteur: A Closer Look
Storyboards
Alfred Hitchcock's Sketches
Production Photographs
Theatrical Trailer
Production Notes
Disc 2: Shadow of a Doubt
1.33:1 Full Frame
English and Spanish DD2.0 Mono
English and Spanish subtitles
Beyond Doubt: The Making of Hitchcock's Favorite Film
Production Drawings
Production Photographs
Theatrical Trailer
Production Notes
Disc 3: Rope
1.33:1 Full Frame
English, French and Spanish DD2.0 Mono
English subtitles
Rope Unleashed
Production Photographs
Theatrical Trailer
Production Notes
Disc 4: Rear Window
1.66:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
Rear Window Ethics: An Original Documentary
A Conversation with Screenwriter John Michael Hayes
Production Photographs
Theatrical Trailer
Re-Release Trailer Narrated by James Stewart
Production Notes
Disc 5: The Trouble with Harry
1.85:1 Anamorphic Widescreen
English and Spanish DD2.0 Mono
English and French subtitles
The Trouble With Harry Isn't Over
Production Photographs
Theatrical Trailer
Production Notes
Disc 6: The Man Who Knew Too Much
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
The Making of The Man Who Knew Too Much
Production Photographs
Theatrical Trailer
Production Notes
Disc 7: Vertigo
1.85:1 Anamorphic Widescreen
English DD2.0 Mono
English DD5.1 Surround
English, French and Spanish subtitles
Obsessed with Vertigo
Feature Commentary with Associate Producer Herbert Coleman, Restoration Team Robert A. Harris and James C. Katz and Other Vertigo Participants
Original Theatrical Trailer
Restoration Theatrical Trailer
Hitchcock's Foreign Censorship Ending
The Vertigo Archive
Production Notes
Disc 8: Psycho
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
The Making of Psycho
Production Notes
Cast and Filmmakers
Theatrical Trailer
Re-Release Trailers
Newsreel Footage: The Release of "Psycho"
The Shower Scene: With and Without Music
Archives
Production Photographs
Behind-the-Scenes Photographs
The Shower Scene: Storyboards by Saul Bass
Lobby Cards
Posters and "Psycho" Ads
Disc 9: The Birds
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English subtitles
All About The Birds Featurette
Deleted Scenes
The Original Ending
Storyboards
Tippi Hedren's Screen Test
The Birds Is Coming (Universal International Newsreel)
Suspense Story: National Press Club Hears Hitchcock (Universal International Newsreel)
Production Photographs
Production Notes
Theatrical Trailer
Disc 10: Marnie
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English subtitles
The Trouble with Marnie
Archives
Theatrical Trailer
Production Notes
Disc 11: Torn Curtain
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
Torn Curtain Rising
Scenes Scored by Bernard Herrmann
Production Photographs
Theatrical Trailer
Disc 12: Topaz
1.85:1 Anamorphic Widescreen
English DD2.0 Mono
English, French and Spanish subtitles
Topaz: An Appreciation by Film Historian and Critic Leonard Maltin
Alternate Endings
Storyboards: The Mendozas
Production Photographs
Theatrical Trailer
Production Notes
Disc 13: Frenzy
2.00:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
The Story of Frenzy
Production Photographs
Theatrical Trailer
Production Notes
Disc 14: Family Plot
1.85:1 Anamorphic Widescreen
English and French DD2.0 Mono
English and Spanish subtitles
Plotting Family Plot
Storyboards: The Chase Scene
Production Photographs
Theatrical Trailers
Production Notes
Disc 15: Bonus Documentaries
AFI Salute to Alfred Hitchcock - AFI Lifetime Achievement Award in 1979 featuring speeches from Henry Fonda, Ingrid Bergman, James Stewart and more
Masters of Cinema - Interview with Alfred Hitchcock conducted by Pia Lindstrom, Ingrid Bergman's daughter
The Making of Psycho
All About the Birds
-
- Joined: Tue Nov 02, 2004 3:09 pm
- Location: here and there
Aw, c'mon, mono track on Vertigo? They're just toying with us, so we buy the whole set for the mono track and it turns out to be a Bogdonovich AND Richard Shickel discussing the "restored" soundtrack.
If it's true, that would also be just fine.
Oh, and I'm STILL pissed that the isolated score track for Psycho from the late LD release, still isn't on board.
If it's true, that would also be just fine.
Oh, and I'm STILL pissed that the isolated score track for Psycho from the late LD release, still isn't on board.
- FilmFanSea
- Joined: Wed Nov 03, 2004 1:37 pm
- Location: Portland, OR
DVD Beaver has posted an excellent review of this box set that compares uncompressed screen captures of the old vs. new releases.
While there appear to be subtle improvements in picture quality for a number of the films, they don't appear to be dramatic (I can't help but think that if Warner had produced this set, it would've resulted in night-and-day improvements). Hard to believe that Universal didn't pour its heart and soul into this franchise, but given their past performance, I'm not too surprised.
Currently, I'm glad I held off preordering this set. While I own 18 Hitchcock films on DVD, I'm not a completist, and I'm not sure that I need Torn Curtain, Topaz, and Family Plot (among others) competing for space in my nearly-jammed bookcase storage.
I'll be curious to hear opinions of those who've preordered the set.
While there appear to be subtle improvements in picture quality for a number of the films, they don't appear to be dramatic (I can't help but think that if Warner had produced this set, it would've resulted in night-and-day improvements). Hard to believe that Universal didn't pour its heart and soul into this franchise, but given their past performance, I'm not too surprised.
Currently, I'm glad I held off preordering this set. While I own 18 Hitchcock films on DVD, I'm not a completist, and I'm not sure that I need Torn Curtain, Topaz, and Family Plot (among others) competing for space in my nearly-jammed bookcase storage.
I'll be curious to hear opinions of those who've preordered the set.
- denti alligator
- Joined: Wed Nov 03, 2004 9:36 pm
- Location: "born in heaven, raised in hell"
- FilmFanSea
- Joined: Wed Nov 03, 2004 1:37 pm
- Location: Portland, OR
I haven't ruled it out, denti--I'm just a little underwhelmed by the final product (though the price is certainly fair).
It also irks me that Universal was misleading in its press release about the bonus disc: only 15 minutes of excerpts are included from the 100-minute AFI Salute to Hitchcock (which reminds me of the famous 15-minute "bonus" disc in Universal's Marx Brothers Silver Screen Collection). These guys are cheapskates to the core.
It also irks me that Universal was misleading in its press release about the bonus disc: only 15 minutes of excerpts are included from the 100-minute AFI Salute to Hitchcock (which reminds me of the famous 15-minute "bonus" disc in Universal's Marx Brothers Silver Screen Collection). These guys are cheapskates to the core.
- mbalson
- Joined: Tue Nov 02, 2004 11:26 pm
- Location: Toronto,Canada
- Contact:
- otis
- Joined: Mon Aug 08, 2005 11:43 am
New region 2 Psycho @
http://www.dvdtimes.co.uk/content.php?contentid=58596
Perhaps the horriblest cover ever.
http://www.dvdtimes.co.uk/content.php?contentid=58596
Perhaps the horriblest cover ever.
-
- Joined: Sun Dec 26, 2004 8:06 pm
- Location: santa monica, ca
- bjeggert82
- Joined: Thu Nov 04, 2004 9:36 pm
- Location: www.deepfocusreview.com
- Contact:
This set is COMPLETELY worth it. I got it in the mail yesterday. The newly remastered transfer on Vertigo alone is worth the $80 for the set. The previous Vertigo disc's transfer was nearly unbearable, but this new one is crisp and clean... I've never seen the film look so good. For me, as I've only seen the movie on poorly transfered DVDs and VHSs, Vertigo was like a whole new film. I was extremely impressed.
I also looked over a few scenes on Psycho, The Man Who Knew Too Much, and Sabotuer (scenes I knew to be bad from the previously released discs)... these new transfers are all very noticable, vast improvements on the other discs.
If you've even had an incling of buying this set, buy it... It's worth every penny.
I also looked over a few scenes on Psycho, The Man Who Knew Too Much, and Sabotuer (scenes I knew to be bad from the previously released discs)... these new transfers are all very noticable, vast improvements on the other discs.
If you've even had an incling of buying this set, buy it... It's worth every penny.
-
- Joined: Tue Nov 09, 2004 2:48 pm
- Location: Los Angeles
- Contact:
Dave Kehr in the NYTimes:
"But the real disappointments are "Rear Window" and "Vertigo" - two of
Hitchcock's supreme masterpieces, both of which were subjected to
dismal "restorations" for theatrical release a few years back, and
both of which are now essentially unwatchable. Of all the prints I've
seen of these films - and that makes for quite a few over the years -
I've never seen a single one with the color values they've been given
here.
"Rear Window" is yellowish and grainy, and "Vertigo" has mysteriously
shifted to a reddish purple. But the biggest problem is the
completely factitious surround soundtrack that has been grafted to
"Vertigo," a spectacular betrayal of Hitchcock's intentions that I've
come to think of as the "Rambo" soundtrack. With its ear-splitting
gunshots and pounding footfalls, it sounds like a hastily dubbed
Italian action film of the 1960's rather than the muffled, dreamlike
soundscape that Hitchcock created for the film.
Buried under the "language" option is a choice to use a mono mix that
at least is closer to Hitchcock's intentions, but sounds as if it
were lifted from a 16-millimeter television print played through a
transistor radio. These are not trivial alterations to a work of art
as meticulously planned and executed as "Vertigo" - they alter the
film's meaning and impact, as surely as if someone had touched up
"Guernica" with a can of red spray paint."
"But the real disappointments are "Rear Window" and "Vertigo" - two of
Hitchcock's supreme masterpieces, both of which were subjected to
dismal "restorations" for theatrical release a few years back, and
both of which are now essentially unwatchable. Of all the prints I've
seen of these films - and that makes for quite a few over the years -
I've never seen a single one with the color values they've been given
here.
"Rear Window" is yellowish and grainy, and "Vertigo" has mysteriously
shifted to a reddish purple. But the biggest problem is the
completely factitious surround soundtrack that has been grafted to
"Vertigo," a spectacular betrayal of Hitchcock's intentions that I've
come to think of as the "Rambo" soundtrack. With its ear-splitting
gunshots and pounding footfalls, it sounds like a hastily dubbed
Italian action film of the 1960's rather than the muffled, dreamlike
soundscape that Hitchcock created for the film.
Buried under the "language" option is a choice to use a mono mix that
at least is closer to Hitchcock's intentions, but sounds as if it
were lifted from a 16-millimeter television print played through a
transistor radio. These are not trivial alterations to a work of art
as meticulously planned and executed as "Vertigo" - they alter the
film's meaning and impact, as surely as if someone had touched up
"Guernica" with a can of red spray paint."
-
- Joined: Tue Nov 02, 2004 3:09 pm
- Location: here and there
Someone who writes about film for a living is just NOW discovering the 10 or so year old Vertigo sound re-do?? The NY Times continues to have complete morons write about video. They used to ignore the quality issue ....now I'm wishing they would go back to that stance.Doug Cummings wrote:Dave Kehr in the NYTimes:
"But the real disappointments are "Rear Window" and "Vertigo" - two of
Hitchcock's supreme masterpieces, both of which were subjected to
dismal "restorations" for theatrical release a few years back, and
both of which are now essentially unwatchable. Of all the prints I've
seen of these films - and that makes for quite a few over the years -
I've never seen a single one with the color values they've been given
here.
"Rear Window" is yellowish and grainy, and "Vertigo" has mysteriously
shifted to a reddish purple. But the biggest problem is the
completely factitious surround soundtrack that has been grafted to
"Vertigo," a spectacular betrayal of Hitchcock's intentions that I've
come to think of as the "Rambo" soundtrack. With its ear-splitting
gunshots and pounding footfalls, it sounds like a hastily dubbed
Italian action film of the 1960's rather than the muffled, dreamlike
soundscape that Hitchcock created for the film.
Buried under the "language" option is a choice to use a mono mix that
at least is closer to Hitchcock's intentions, but sounds as if it
were lifted from a 16-millimeter television print played through a
transistor radio. These are not trivial alterations to a work of art
as meticulously planned and executed as "Vertigo" - they alter the
film's meaning and impact, as surely as if someone had touched up
"Guernica" with a can of red spray paint."
NO, the mono track to Vertigo is not THAT bad.....and if it can't be better at this point, I'd STILL be thrilled to have it.
Rear Window and Vertigo unwatchable? What is this guy on?
- zedz
- Joined: Sun Nov 07, 2004 7:24 pm
I first saw Vertigo in its 80s rerelease, and found it evocative and mysterious. When I saw it again in its 'restored' form, I was much less impressed, finding it far more ordinary and patchy (though still admirable in parts), lacking the subtlety and mystery that had been its dominant characteristics when I'd first seen it.
I assumed that the film was simply over-rated and that my taste had changed, since that first viewing had largely pre-dated my encounter with much European cinema, but since then the scary possibility has arisen that my reaction was occasioned by the deficiencies of the restoration. A brasher soundtrack would certainly destroy much of the dream-like mood I had expected to rediscover.
I think flixy has pinpointed the dangerous difference between "restoration" (returning a film to its original condition) and "renovation" (trying to make a film conform to contemporary presentation norms). Big studios continue in their idiotic assumption that there is a mass audience for old films so long as you can trick the stupider members of that audience that the film was made in the last ten years. I'd hoped that the advent of DVD had assisted the demise of some of the more egregious examples of this (such as colorisation), but it looks like it's just getting more insidious. Frankly, I don't see the need for beefed-up, remixed soundtracks, even as an option, but when it becomes the 'official' version (and the original film is allowed to fall into disrepair), that's appalling.
I assumed that the film was simply over-rated and that my taste had changed, since that first viewing had largely pre-dated my encounter with much European cinema, but since then the scary possibility has arisen that my reaction was occasioned by the deficiencies of the restoration. A brasher soundtrack would certainly destroy much of the dream-like mood I had expected to rediscover.
I think flixy has pinpointed the dangerous difference between "restoration" (returning a film to its original condition) and "renovation" (trying to make a film conform to contemporary presentation norms). Big studios continue in their idiotic assumption that there is a mass audience for old films so long as you can trick the stupider members of that audience that the film was made in the last ten years. I'd hoped that the advent of DVD had assisted the demise of some of the more egregious examples of this (such as colorisation), but it looks like it's just getting more insidious. Frankly, I don't see the need for beefed-up, remixed soundtracks, even as an option, but when it becomes the 'official' version (and the original film is allowed to fall into disrepair), that's appalling.
-
- Joined: Sun Apr 10, 2005 4:40 pm
Whoa there UncleHulot. Dave Kehr is one of the best film critics in America. His reaction might be a bit overstated but that could probably be attributed to the fact that he's one of the biggest champions of Hitchcock around (I believe he stated Vertigo was one of the greatest achievements of 20th century art). You're not going to provoke much of a stance against this sort of thing unless you can heap on some old-fashioned hyperbole.
Last edited by Titus on Fri Oct 07, 2005 4:59 pm, edited 1 time in total.
-
- Joined: Tue Nov 02, 2004 3:09 pm
- Location: here and there
It's not his standing as a critic I call into question, but the legwork, which is almost never done by the Times critics to critique VIDEO quality issues with any reasonable standard....comparing to previous versions, etc. They're just making up the vast majority of it. I shouldn't have just picked on him, however, and indeed, he does write well about FILMS.Titus wrote:Whoa there UncleHulot. Dave Kehr is one of the best film critics in America. His reaction might be a bit overstated but that could probably be attributed to the fact that he's one of the biggest champions of Hitchcock around (I believe he stated Vertigo was one of the greatest achievements of 20th century art). You're not going to going to provoke much of a stance against this sort of thing unless you can heap on some old-fashioned hyperbole.
-
- Joined: Tue Nov 09, 2004 2:48 pm
- Location: Los Angeles
- Contact:
I think Kehr in particular is making an effort to educate himself about the technology--he even quoted DVDBeaver in one of his columns recently. For an established critic, that's impressive. And although I haven't seen the new reissues, I don't doubt that he's exactly right about them. Does anyone want to claim his criticism of these transfers is wrong?
-
- Joined: Tue Nov 02, 2004 3:09 pm
- Location: here and there
Oh well, guess this just caught me in a peevish mood. For all of MY criticism of the output of Universal, I just would not have called those 2 transfers "essentially unwatchable", for all their problems, and was surprised that if he was familiar with the "Veritgo" theatrical prints of a decade ago, that he only now seems to hear what they did to the sound. But I'll try and keep my own hyperbole down to a dull roar, and apologize for trashing someone who obviously has their priorities straight.......which is to keep nailing those lazy video companies asses to the wall for substandard work.
- ola t
- They call us neo-cinephiles
- Joined: Wed Nov 03, 2004 4:51 am
- Location: Malmo, Sweden
The fact that he doesn't explicitly say he was aware of it before doesn't mean he wasn't.unclehulot wrote:was surprised that if he was familiar with the "Veritgo" theatrical prints of a decade ago, that he only now seems to hear what they did to the sound
There was a great series of lectures and screenings on film restoration at the Copenhagen Cinematek last year. Robert Gitt (UCLA), Michael Pogorzelski (Academy Film Archives) and Grover Crisp (Sony Pictures) were asked in a Q&A session if they could think of any famous restorations that didn't deserve to be called restorations. They all just looked at each other at first, clearly not sure they wanted to say anything bad about a colleague's work -- but after some hesitation Robert Gitt mentioned Vertigo and they all seemed to agree that what had been done to its soundtrack was unacceptable.
- Fletch F. Fletch
- Joined: Tue Nov 02, 2004 3:54 pm
- Location: Provo, Utah
Robert Harris counters on the Home Theater Forum:Doug Cummings wrote:Dave Kehr in the NYTimes:
"But the real disappointments are "Rear Window" and "Vertigo" - two of
Hitchcock's supreme masterpieces, both of which were subjected to
dismal "restorations" for theatrical release a few years back, and
both of which are now essentially unwatchable. Of all the prints I've
seen of these films - and that makes for quite a few over the years -
I've never seen a single one with the color values they've been given
here.
"Rear Window" is yellowish and grainy, and "Vertigo" has mysteriously
shifted to a reddish purple. But the biggest problem is the
completely factitious surround soundtrack that has been grafted to
"Vertigo," a spectacular betrayal of Hitchcock's intentions that I've
come to think of as the "Rambo" soundtrack. With its ear-splitting
gunshots and pounding footfalls, it sounds like a hastily dubbed
Italian action film of the 1960's rather than the muffled, dreamlike
soundscape that Hitchcock created for the film.
Buried under the "language" option is a choice to use a mono mix that
at least is closer to Hitchcock's intentions, but sounds as if it
were lifted from a 16-millimeter television print played through a
transistor radio. These are not trivial alterations to a work of art
as meticulously planned and executed as "Vertigo" - they alter the
film's meaning and impact, as surely as if someone had touched up
"Guernica" with a can of red spray paint."
http://www.hometheaterforum.com/htforum ... ost2814884
Although Mr. Kehr is a fine journalilst, he apparently has no idea what he's viewing, from whence it came, why it needed to come from wherever it did, and what it would look and sound like...
had it not.
An bit of education can go a long way, and is offered.