Bat
Whispers
(1930/VCI Blu-ray)/Double
Crossers
(1976*)/Linguini
Incident
(1991 Blu-ray)/Mexico
Trilogy
(El
Mariachi/Desperado
4K
+ Blu-ray/Once
Upon A Time In Mexico/Arrow
Set)/Valiant
Ones
(1974/*both Golden Harvest/Eureka! Blu-rays/all MVD)
4K
Ultra HD Picture: B+ Picture: B- (B: 65mm Bat
Whispers)
Sound: B-/B-/B-/B- B B/C+ Extras: B/B-/B-/B/B Main
Programs: B-/B-/C+/C+/B-
The
next set of films include some serious genre classics, films we
should have been hearing more about over the years and all worth your
time...
Roland
West's The
Bat Whispers
(1930) is the second and biggest movie adaption of the Mary Roberts
Rinehart about 'The Bat,' an expert thief who taunts the police,
wealthy and powerful about what he is gong to steal, when he'll steal
it and that they will never catch him. So far, he has been wildly
successful, but can anyone finally stop him or even figure out who he
really is?
He
lands up hiding at a rented mansion occupied by a wealthy woman
(Grayce Hampton) and he maid (Maude Eburne,) who is not happy with
the emptiness and reacts to the smallest noise. Her neurotic
tendencies turns out to eventually not be false when The Bat is
actually using the place to hide form the authorities. Will they
land up his next dead victims? Who else is showing up there who
might be up to no good?
The
cast is not only great, we have the sometimes too forgotten and
incredible Una Merkel in the female lead, plus the great actor
Chester Morris as the lead detective who may finally catch up with
The
Bat.
Morris was so good here, he later was a huge hit as detective Boston
Blackie on radio dramas and in a series of 13 feature film mysteries
from Columbia Pictures. The leads have some nice chemistry and the
cast is obviously having some fun too, which adds to the fun of
watching this one. The other actors are either unknown for
forgotten, but a nice bonus would be for their work to be appreciated
all over again.
Well,
this has more comedy in it in a way that will remind you of the likes
of Murder
By Death,
Clue
or the Bob Hope Ghost
Breakers
film, yet this is a true original as Rinehart
became known as the Agatha Christie of the U.S. inventing the old
dark house prototype for mystery movies, was also responsible for
'the Butler did it' cliche and along with a long series of hit book
and film melodramas, continued to pump out more mysteries for a long
time, many of which that are just now coming back into print.
In
the case of this film, a remarkable independent production produced
by the already prolific Joseph M. Schenck, whose hits with Buster
Keaton were massive. Detective films were picking up, especially for
an educated audience who wanted similar entertainment, though the
books and films were meant for everyone who would and could get into
them. It was also a chance to jump on an ever-increasing successful
and profitable genre as the many mystery movies series and even
serials would prove. The play and previous film were already hits
and Schenck was correct in going all out for this production.
It
would include some of the best early model work, inspired by Lang's
Metropolis
(1926) and he was not alone, as Fox would offer even more
groundbreaking work in their 1930 Science fiction/musical Just
Imagine,
shot on regular 35mm film. At the same time, William Fox was trying
out large frame filmmaking because of its superior fidelity,
sharpness and clarity, known as the Fox Grandeur format. Schenck
decided to combine both ideas and one of the biggest detective
mystery movies ever made got the greenlight.
All
in black and white, they first shot the film on 35mm film and with
multiple takes, which led to the two different versions here: U.S.
and U.K., then with the cast already more than familiar with the
material after multiple takes, they shot the 65mm Magnifilm version.
Like the Todd-AO 70mm Oklahoma!
later in 1955, the final large frame film version is tighter,
stronger, a little more intense, a little more naturally funny and
more suspenseful. The makers have to innovate with the widescreen
process and some of these early compositions and they way they take
advantage of the higher fidelity with depth of field and it looks
more realistic than the usual stage play.
Of
course in movie theaters, it can look like you could walk into the
film, so it would not be until Welles' Citizen
Kane
that any mystery film would look so clear, vivid and for real. The
first version moves along well enough with different cutting and the
cast moving a bit a little slower, but I like that too as it is in
keeping with the genre, though it is in the older style that will
recall early Philo Vance and Sherlock Holmes movies. The British
version has some places where the pace picks up, others not, but the
makers were also experimenting a bit to see what would be most
effective. So by the time they get to 65mm, it is amazing for the
time and genres, with no mystery films shot in a large frame format
again (save several of Hitchcock's 1950s VistaVision films) until
Kenneth Branagh made his first two Hercule Poirot films 87 years
later!
All
versions were distributed by United Artists, the great
filmmaker-friendly studio co-founded by the huge movie star Mary
Pickford (her husband Douglas Fairbanks and cinema giant Charlie
Chaplin were two of the other four founders) and the films were
considered lost, save some footage and stills here and there if that.
Rinehart had her own 65mm print, but who knows where that landed up
and all prints were on nitrate, so they could decay and catch fire at
any minute because all such film had gunpowder in it. Fortunately,
Pickford's estate had these copies and now, including decades by fans
like yours truly, finally get to see the films after waiting for a
long time and hoping they would turn up.
Also
historically, this is the first time any detective, crime, mystery,
suspense and/or police film got the widescreen or large frame format
treatment, so the 65mm version is very historic. The 35mm versions
still are landmark in being a successful and early sound detective
production in those genres and an early independent triumph made
somewhat outside of the Classical Hollywood Studio System.
And
of course, it has one more claim to fame, as a young comic book
artist and writer to be was inspired by the film's villain and when
you watch the film, you can see more than a few similarities to the
legendary hero he created. His name was Bob Kane and he took a good
bit from the villain here to make Batman. Look for shadow and
costume similarities, a trick car scene and even some shots that look
like Batman from when he first appeared in Detective
Comics
No. 27 before landing his own comic book. Soon, Batman would join
Superman, Captain Marvel/Shazam!, The Shadow, The Phantom, Zorro and
Captain America in creating what became the superhero genre early on.
Just
a lucky 13 years later, at Columbia Pictures, Batman would make his
first appearance on the big screen in a movie serial and the rest is
history. The
Bat Whispers
is at least a minor classic in several genres and it is one of the
great restoration and preservation events of the year (with so many
good ones this year alone) and now, you can experience it like
nothing anyone has seen in many, many decades. This set is strongly
recommended for all serious film fans!
Extras
are great too and include a Feature Length Audio Commentary Track by
Mick LaSalle Author and Film Critic, Liner Notes Pictorial Booklet by
Richard Barrios Writer, Historian, and Commentator, Poster &
Photo Gallery, a clip of the 1926 silent version of The
Bat
showing how it is being restored (to be released by Undercrank
Productions soon,) two sets of clips comparing the silent 1926 and
U.S. 1930 films, then of the 35mm U.S. & 65mm widescreen
Magnifilm versions and a low-def version of The
Bat
(1959) for completists.
You
can read more about
that 1959 remake of The
Bat
with Agnes Moorehead and Vincent Price in their Blu-ray upgrades at
these links:
http://www.fulvuedrive-in.com/review/13902/The+Bat+(1959)/A+Bucket+Of+Blood+(1959/Cor
and...
http://www.fulvuedrive-in.com/review/16216/The+Bat+(1959/Film+Detective+Blu-ray)/Don't+W
Jeong
Chang-hwa's The
Double Crossers
(1976) has a police detective (Shin Il-ryong) investigating the
murder of his father, leading to him uncovering a smuggling ring that
both of his parents were secretly involved in. Thus, he discovers
the head of it all (Chao Hsiung) ordered the murder and will get
revenge no matter what he wants to do.
Well,
the revenge part is familiar enough, but in that, this is well done
enough with consistent intensity and performances I bought. Also,
the fights and battles are good and this is not too long or drawn out
at 99 minutes. I like the look too and the actors have chemistry, so
for those interested, it is definitely worth a look.
Extras
include a
brand new audio commentary on the Hong Kong theatrical version by
East Asian film expert Frank Djeng (NY Asian Film Festival)
Brand
new audio commentary on the export version by action cinema experts
Mike Leeder and Arne Venema
Limited
Edition high quality collector's booklet with a new James Oliver
essay
Limited
Edition O-Card slipcase with new art by Darren Wheeling
Reversible
sleeve featuring original poster artwork
and
an Original Theatrical Trailer.
Richard
Shepard's The
Linguini Incident
(1991) is a comical revenge/heist film with David Bowie and Rosanna
Arquette sick of their employers at a fancy nightclub, intending to
rob and stab them in the back, more stylized than the usual such
film. Looking a little like Bowie's Absolute
Beginners,
others would say some music videos, but the look is fine and at least
consistent. That also robs it of some raw realism, but also tries to
support the romance angle as the debuting crooks might be falling in
love.
Ambitious
and with some good moments, the film is simply uneven, but ambitious
enough, the supporting cast impresses including Buck Henry, Marlee
Matlin, Andre Gregory, Viveca Lindfors, Eszter Balint, James Avery,
Kathy Kinney, Maura Tierney and a few surprises. Both cuts are about
even, a similar situation with Coppola's recently restored One
From The Heart
(see our 4K and DVD coverage elsewhere on this site) which shares a
few stylized similarities. This is an interesting enough film that
its restoration and reissue was long overdue an now you can judge for
yourself.
Helping
are the extensive extras, including an
Introduction by Director Richard Shepard
Feature
Length Audio Commentary with Director Richard Shepard, actors
Rosanna Arquette and Eszter Balint, co-producer Sarah Jackson and
co-screenwriter Tamar Brott, moderated by ''Cereal at Midnight's''
Heath Holland
Commentary
by Director Richard Shepard
The
Making of The Linguini Incident:
Feature length documentary about the making of the film featuring
interviews with Richard Shepard, Tamar Brott, Rosanna Arquette,
Eszter Balint, Marlee Matlin, Sarah Jackson, Marcia Hinds and
Richard von Ernst (1:44:26, HD, with optional English subtitles)
Photo
Gallery with commentary by Richard Shepard
The
Linguini Incident:
Original Theatrical Version (SD, 98:00)
2024
Theatrical Trailer (in HD)
Original
Theatrical Trailer (in HD)
and
Reversible Artwork.
Robert
Rodriguez's
The
Mexico Trilogy 4K
(El
Mariachi
(1993,) Desperado
(1995, w/Blu-ray) and Once
Upon A Time In Mexico
(2003) has (finally) been upgraded from the trilogy's Blu-ray debut,
which we covered at this link:
http://www.fulvuedrive-in.com/review/10721/El+Mariachi/Desperado+Double+Feature+++Once
A
likable set of films, I liked the first one enough, found the Antonio
Banderas follow-up interesting, then the final installment wrapped
things up as expected. Rodriguez almost launched a Hispanic New Wave
and Independent Filmmaking New Wave at the same time, but it sadly
did not quite work out that way, though he broke through and as these
unfolded, he helmed films that were collaborative with other
directors or in anthologies, good (From
Dusk 'Till Dawn,
the Machete
films) disappointing (The
Faculty,
Red
11,
Alita:
Battle Angel,
Hypnotic)
and overtly commercial (Spy
Kids
series, We
Can Be Heroes,
Adventures
Of Shark Boy & Lava Girl)
and some interesting documentary and shorts work.
The
career went into directions that were never suggested buy these films
and sadly, did not make him another Scorsese or De Palma or the like.
That also makes these some of the best films he ever made, still
discussed and one time an inspiration pre-digital, to filmmakers in a
way the industry and art form has lost for the worst. Now they are a
time capsule of possibilities, including some lost, so here's the
best set of them for those interested.
Extras
include:
DISC
1 - EL MARIACHI (BLU-RAY)
The
Music of 'El Mariachi',
a newly produced featurette on the music in the film, featuring
interviews with composers Eric Guthrie, Chris Knudson, Alvaro
Rodriguez and Marc Trujillo
DISCS
2 & 3 - DESPERADO (BLU-RAY / 4K ULTRA HD BLU-RAY)
DISC
4 - ONCE UPON A TIME IN MEXICO (BLU-RAY)
Last
but not least is King
Hu's The
Valiant Ones
(1974,) an influential martial arts genre classic with choreography
by the late, great Sammo Hung and enough classic moments that
influenced dozens of other such films all the way to Crouching
Tiger, Hidden Dragon,
though I liked this one more. A Jinjing Emperor (Chao Lei) is sick
of Japanese pirates invading the China coast, so he recruits a band
of fighters to stop them, but it will not be simple and the Emperor's
team has some interesting tricks to stop it for good.
There
is a little more humor here than I would have liked, but it is not
the kind like later Jackie Chan films where it is all over the place,
so it is not too bad. I wish it had been more serious and darker,
but the fights are as impressive as the cast, locales, use of color,
costume design and production design. I can see why people love this
one and it has the reputation it has, a must-see for all serious fans
of the genre and even for the more serious film fans overall,
Taiwan's King
Hu is a remarkable filmmaker and the restoration and reissue of this
film was long overdue.
Extras
are many and include
a brand new audio commentary by Asian film expert Frank Djeng (NY
Asian Film Festival)
Tony
Rayns on The Valiant Ones:
Brand new interview with critic and Asian film expert Tony Rayns
Brand
new video essay by David Cairns
Limited
Edition O-Card slipcase with new art by Gregory Sacra
Limited
Edition high quality collector's booklet with a new Jonathan Clemens
essay
The
Life of a Lucky Stuntman:
Brand new interview with stuntman Billy Chan
My
Father and I:
Brand new interview with actor Ng Ming-choi
Archival
2003 interview with actress Hsu Feng by Frederic Ambroisine
Archival
2003 interview with Roger Garcia (Hong Kong International Film
Festival Society) by Frederic Ambroisine
and
an Archival 2016 interview with actor Ng Ming-choi by Frederic
Ambroisine.
Now
for playback performance. The 2160p HEVC/H.265, Dolby Vision/HDR
(10; Ultra HD Premium)-enhanced 1.85 X 1 Ultra High Definition image
quality on Desperado
looks the best I have seen it since its theatrical release and is the
best-looking release on the list, while the 1080p digital High
Definition image on the rest of the whole Trilogy
is a much-needed upgrade from the older Blu-ray which disappointed
our other writer. Why the other films did not get 4K treatment is
sad, but that's the set. All offer DTS-HD
MA (Master Audio) 2.0 Stereo lossless mixes, while the sequels also
offer DTS-HD MA (Master Audio) 5.1 lossless mixes and all sound as
good as they ever will.
The
Bat Whispers
has three different versions of the film, the first two in 1080p 1.33
X 1 black & white digital High Definition image transfers
(credited as 1.32 X 1!) and of course, they can show the age of the
materials used, but this is far superior a transfer to any previous
releases of the film on home video and we are lucky they survived at
all. The PCM 2.0 Mono sound on the U.S. cut is a little limited,
boxy and compressed, but the British edition is a bit clearer and
more natural sounding, as is the 65mm Magnifilm version, all three
offering different recordings of the dialogue due to being from
multiple takes.
The
1080p 2.00 X 1 black & white digital High Definition image
transfer from the Magnifilm 65mm version of the film can also can
show the age of the materials used, but much less often. The model
work was shot on 35mm film (the larger camera too heavy to shoot the
models with) so they can look a little softer, as can some other
matte and visual effects shots, plus we do get some minor wear and
age here and there. However, versus the two 35mm films, this makes
them look like reduction prints, though such things did not exist for
a few more decades after this film was released. So many great
silent and sound mystery and detective films were made at the time
before Noir arrived and they tend to be some of the most interesting
of the period, yet we get some of the best shots on anything here and
this is 44 years older than any other film covered here. However, it
is the only large frame format entry here, so that shows you how
amazing these formats can be. A few shots are above my rating and
can complete with Desperado
4K!
Of
a dozen feature films from 1923 to 1931 shot in early large frame
film formats, this and Raoul Walsh's The
Big Trail
(both 1930,) are the only two known to survive (hopefully so far) and
here's hoping the rest will be found and restored.
The
1080p 2.35 X 1 digital High Definition image on both Double
and Valiant
are in Shawscope, both have extensive restoration and both also still
have some flaws with age, but color is good in both cases, but the
limits of the older anamorphic lens format is always there too.
Valiant
was also issued on 4K disc and with the color so good here, I bet it
is better there, though whether some flaws would be emphasized or
actually fade will be something we discover when we see that version
at some point. The PCM 2.0 Mono on both (Cantonese on Double,
Mandarin on Valiant)
show their age and the limits of the sonics and budget of the time,
but are the best either film will ever sound. An English PCM 2.0
Mono dub is also on Double,
but it is not as good, of course.
The
1080p 1.85 X 1 digital High Definition image transfer on Linguini
Incident
can show the age of the materials used, with the image having a few
more flaws than expected, but color is decent. The sound is listed
on the back as ''PCM 2.0 Mono'' even though the film was issued
theatrically in the old, analog Ultra
Stereo noise reduction format, a rougher version of Dolby's
also-antiquated Dolby System A-type system. We get simple stereo at
best and the film will never sound better as the flaws and limits are
baked in.
-
Nicholas Sheffo
