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Wednesday, 7 May 2014

"City Of Angels" on BLU RAY – A Review Of The 1998 Brad Silberling Movie Now Reissued On BLU RAY In 2014 In The USA


"…None Of This is In My Hands…" – City Of Angels On BLU RAY (2014)

As she reads 105 degrees on the thermometer she’s just taken out of her six-year old daughter’s mouth – we hear Mum’s panicking thoughts - pleading for help from a higher power. "I don't really pray…but if you could help out here…" she says in escalating dread. Yet her child Susan doesn’t seem fazed – staring instead at a man in a long black coat with a peaceful face on the other side of the room that Mummy doesn’t seem able to see.

His name is Seth - and next thing he’s walking alongside Susan who’s lying in her pyjamas on a hospital gurney looking up at him as a group of doctors and surgeons try to get her to the operating room on time. Moments later Seth and tiny Susan are looking in at the medical commotion through the glass outside – holding hands as they watch an unresponsive child’s body and a mother breaking down in agony. Susan looks up and asks Seth - "She won't understand?" He calmly replies - "She will…someday…"

Inside hot cars motionless on a log-jammed freeway - we see the citizens of LA and hear their thoughts about doomed love affairs ("he's never gonna leave her…"), work worries and how everything takes twenty minutes in Los Angeles. We then witness more angels in human form at work – one listening to the thoughts of a mother proud that her daughter has had a 6lb 4oz baby and become a parent too - helping an air-traffic controller concentrate when his debt problems almost distract him from Flight Federal 595 - and two working a kid and a scared liquor store owner on opposite sides of the counter – urging them both to 'stay cool' as the jumpy young man nervously robs his till with a gun.

These angels aren’t flashy – they don’t have wings nor halos - they don’t stop bullets or avert car crashes – they remain invisible to the human world and only lay on hands to help and sooth. They ponder what their charges say about life – usually from a height - dangling their legs over skyscraper girders, aeroplane wings, 100-foot high cowboy adverts for cigarettes and the Hollywood Sign. They also gather on the beach each morning (without leaving footprints in the sand) to witness the sunrise and hear the music of possibility…as a new day begins...

As you can imagine a reworking of Wim Wender's beloved 1987 classic movie "Wings Of Desire" by Hollywood types was always going to be open to ridicule and charges of crass commercialism – but 1998's "City Of Angels" pulled off the transition with a genuine deftness of touch – producing a film that moved many movie-goers far more than they thought it would. The brilliant Dana Stevens adapted screenplay smartly keeps it about people – about finding humanity – the joy in everyday occurrences – and knowing there is always love in your life in one form or another.

Principal in pulling this off is the spot-on casting of Nicholas Cage and Meg Ryan. Cage plays Seth – an Angel who is more than curious about what it would be like to actually 'feel' let alone be human - while the talented Meg Ryan plays Doctor Maggie Race – a Thoracic Surgeon in L.A.’s Mission Hospital who is having a crisis of faith after losing a 50-year old patient called Tom Bradford on her table in what was a routine bypass.

Dr. Maggie suddenly feels no longer in control and can’t shake off the stricken reaction of Bradford’s family as she broke the news to them. She did it with a little too much of that scalpel-like precision and detachment that works so well in the operating theatre but not in the real world - cockily playing Jimi Hendrix as she dabbles with someone else’s heart. It was a textbook operation - yet it went wrong - her patient’s fading arrhythmia literally in her hands – powerless to stop him from dying (dialogue above). But her partner and fellow surgeon Jordan Ferris (a suave Colm Feore) thinks that Maggie is not out of sorts nor crazy nor chemically imbalanced – just tired - and with a little rest - she should just "come back to work on Monday and get back on the saddle". But Maggie doesn’t seem able to get that confidence nor that belief back.

Then one night – tired and still trying to figure out why an abandoned male infant on the 4th floor keeps crying all the time (her Doctor friend Anne is played by the lovely Robin Bartlett) – Maggie exits the lift at the 6th floor by mistake and sees a man standing outside a ward bedroom. He turns around and it’s the beautiful Seth.  They engage in small talk about the benefits of visiting hours and being in despair on the stairwell  – and a flame of attraction is lit between them. His eyes haunt her and she wonders how he knew her first name when her ID tag only displays the initial 'M'?

They meet again in the heavenly upward concrete circles of the city library as she returns a book - Hemmingway's "A Moveable Feast – Sketches On The Author’s Life In Paris In the Twenties". More feelings grow as Seth sexily explains about the great American author’s skill at describing the senses of taste and touch (things he can’t experience himself but longs to). At this point Maggie thinks Seth’s a bit weird - with his cryptic replies and always wearing the same clothes whilst saying he’s not a bike courier but a Messenger of God. But something inside her aches for him – like a lost Soul moving towards its mate.

Seth tries to discuss his growing feelings with another celestial body - Cassiel (the wonderful Andre Braugher) but Cassiel seems sceptical. Then one afternoon Seth meets the rotund hedonist Nathaniel Messinger (superb casting in Dennis Franz) in the heart ward munching down on yet another tub of Ben & Jerry’s ice cream. Nathaniel can hear and feel Seth’s presence - and Seth soon works out that Nathaniel was once an angel too – but one who fell in love with a woman on Earth and 'chose' to fall to be with her (nice work from Joanna Merlin). Over more food Nathaniel explains that he gave up his power to travel at the speed of thought - never grow old and never feel any pain – for love – and hasn’t regretted a day since.

And on it goes to Maggie working out why the child keeps crying and what her strange man in black really is (from a photo) and finally to a decision that Seth must make of his own 'free will'…

Director Brad Silberling’s movie cleverly avoids any flashy 'ghost' or 'angel' tricks and allied with Gabriel Yared’s truly gorgeous film score (the acoustic "The Unfeeling Kiss" used during the market scene as they shop for fruit is particularly stunning) and other clever song choices by Peter Gabriel, Paula Cole, Alanis Morissette and Sarah McLachlan – gives his angelic messengers a calming presence – benevolent beings watching over us all but not interfering nor judging.

The February 2014 AMERICAN BLU RAY I bought on Barcode 883929374298 is REGION FREE so there are no compatibility problems for UK or European buyers. The picture is defaulted to 2.4:1 Aspect Ratio so there's bars top and bottom - but even stretched to Full Screen - the print quality is lovely throughout. You wouldn’t say it was exceptional by any means – but I feel its an improvement over the DVD I had  – never overly glossy – classy in its presentation. Eyes are blue – sunsets are multi-coloured and his sweat and blood when he falls onto a steel platform look real. Meg Ryan has probably never looked more beautiful or assured while Cage brings an other-worldliness to his character than few actors could achieve. The behind-the-scenes documentaries feature fun talks with the cast both in studio and on location (skyscraper shots that terrified both Cage and Franz because they are real – short on girders way up there).

Audio is DTS-HD Master Audio English 5.1, Dolby Digital French 5.1, Spanish Castilian 5.1 and Spanish Latin 2.0. Subtitles include English SDH, French and Spanish. 

Maggie says to Seth about her lost patient – "I wanted him to live…" And Seth replies, "He is living…just not in the way you think…"


Ever wonder what your invisible guardian looks like? Convert to "City Of Angels" and find out…

Tuesday, 6 May 2014

"Trouble Man: 40th Anniversary Expanded Edition" by MARVIN GAYE - Soundtrack Album from December 1972 (USA) on Tamla and February 1973 (UK) on Tamla Motown (November 2012 (US) and January 2013 (UK) Universal/Hip-O Select 2CD Reissue And Remaster) - A Review by Mark Barry...


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"…A Little Different Time Wise…"

As I sit here listening to Marvin instructing Trevor Lawrence (the Saxophone player) on Disc 1's Alternate Version of "T" Stands For Trouble" (dialogue above) – I’m properly drooling. This is just stunning stuff - and as a veteran of over 2000 reviews (hundreds for Soul) – I can safely say that this gorgeous 2CD set may just well be the coolest reissue ever put out in digital history.

While 1971’s "What's Going On" and 1973's "Let's Get It On" are regularly acknowledged as Soul masterpieces and name-checked by everyone who is everyone in love with music that genuinely touches you – real MG fans have always had a rush to the head at the mere sight of 1972's "Trouble Man" on vinyl. 

Gaye himself seemed to rate it as his best work and on the evidence presented to us on this fabulous 2013 overhaul – hot like an oven – doesn’t even come close to how good Marvin was at the time. So let’s get to the Blax facts right away…

Released November 2012 in the USA (January 2013 in the UK) – "Trouble Man" by MARVIN GAYE is a 40th Anniversary Expanded Edition 2CD Remaster on Universal/Hip-O Select B0017676-02 (Barcode 602537184040) and plays out as follows:

Disc 1 (73:41 minutes):
1. Main Theme From Trouble Man (2)
2. "T" Plays It Cool
3. Poor Abbey Walsh
4. The Break In (Police Shoot Big)
5. Cleo’s Apartment
6. Trouble Man
7. Theme From Trouble Man
8. "T" Stands For Trouble
9. Main Theme From Trouble Man
10. Life Is A Gamble
11. Deep-In-It
12. Don't Mess With Mr. T
13. There Goes Mr. T
Tracks 1 to 13 are the album "Trouble Man" – originally released December 1972 in the USA on Tamla T322L and February 1973 in the UK on Tamla Motown STML 11225. The American issue famously came in a die-cut sleeve with a flap that had him seated beneath the flap – the UK version came in a single laminated cover with no flap and only the seated photo.

The "T" Sessions: 
14. Main Theme From Trouble Man (2) – Alternate Take With Strings
15. "T" Plays It Cool – Unedited Version
16. Poor Abbey Walsh, Part 2 – Take 1
17. Poor Abbey Walsh, Part 2 – Take 2
18. Trouble Man – Extended Version
19. Theme From Trouble Man – Vocal Version
20. "T" Stands For Trouble – Unedited Vocal Version
21. "T" Stands For Trouble – Alternate Version
22. Man Theme From Trouble Man – Vocal Version)
Tracks 14 to 22 are all PREVIOUSLY UNRELEASED BONUS TRACKS

Disc 2 (47:37 minutes):
1. Trouble Man
2. Pool Hall
3. "T" Plays It Cool
4. Cadillac Interlude/Cleo’s Apartment
5. Man Tied Up/Jimmy’s West/Conversation With Cleo
6. Crap Game (A.K.A. The Break In)/Getting Rid Of Body/Talking To Angel
7. Outside Police Station
8. Bowling Alley Parking Lot
9. Stick Up
10. Cleaners/Cleo
11. Closing Jimmy’s
12. Police Break In
13. "T" Cleans Up/Police Station
14. Packing Up/Jimmy Gets Worked/Saying Goodbye/"T" Breaks In/Movie Theatre
15. Car Ride/Looking For Pete
16. Parking Garage/Elevator
17. Penthouse
18. Getting Pete
19. My Name Is "T"/End Credits
Tracks 1 to 19 are "Trouble Man Original Film Score" (in MONO) which features the movie score chronologically reconstructed for the first time since release over 40 years ago. It is PREVIOUSLY UNRELEASED in this form.

Track 20 is a Film Band Bonus - "T" At The Cross

The three-way fold out digipak looks the business – the CDs are the same colour as the 1973 American Tamla label while the centre pages of the booklet picture the shot of Marvin sat in his chair from the die-cut sleeve. Under the see-through plastic trays are snaps of tape boxes for Side 1 and 2 and each flap has lovely colour shots of the great man. Very tasty…

But the booklet is a mixture of the beautiful and the baffling – it’s 28 pages are gorgeous – filled with Motown Archive memorabilia, stuff from the collection of Mathieu Bitton, British and American trade adverts from the time, full colour spreads - even Turkish and Japanese pressings of rare singles. There are superb contributions from fans like Joni Mitchell, Lenny Kravitz, movie legend Cameron Crowe and filmmaker George Tillman Jr. (Soul Food, Men Of Honor and Notorious) –as well as reminiscences from the album’s song arranger Dale Oehler (Joni used him for "The Hissing Of Summer Lawns") and the lone guest musician Trevor Lawrence who played Saxophone (Marvin played everything else). All this and detailed annotation on the sessions on the last set of pages etc.  All good…

But then when you get to Page 17 of the Andrew Flory liner notes and the last sentence starts "Less than a year after its release, Trouble…" – you turn over the page – and nothing! It’s not continued because someone’s obviously missed a whole set of paragraphs. It’s staggering sloppy for such a classy looking reissue.

But although that’s a goof worth pointing out – in truth it’s a sideshow to the real deal for long-time Gaye fans and lovers of this nugget album – the BEAUTIFUL NEW REMASTERED SOUND and STUNNING PREVIOUSLY UNRELEASED EXTRAS…

ANDREW SKAROW did tape Research, JOHN MORALES mixed the bonus tracks and long-standing Universal Engineer KEVIN REEVES did the overall remaster. The work is exceptionally good – full of muscle and power. The booklet informs us that the 'reconstruction of the score for Disc 2 was painstaking' and it sounds it – segments I’ve never heard finally mixed in with what punters saw on the night. Some of it seems to fade out prematurely but I suspect that is to do what they had to work with. Other than that – track after track – and you’re hit with sonic clarity and warmth that is thrilling.

I’ve had the 1998 CD remaster for years and this version is better – more detail and without being over-trebled for the sake of it. The punch off some of the tracks is shocking – and who can resist the only single taken off the album "Trouble Man" b/w "Don’t Mess With Mister "T"" – it sounds glorious.

The Bonus Tracks on Disc 1 for me are the best – the Unedited Vocal Version of "T" Stands For Trouble is brill – huge sound and sexy rhythms – with Marvin scatting over the cool rhythm and Sax. WOW!

Over 300 tiny sound cue segments were recorded for the movie and for this reissue the usable cues have been painstakingly cobbled together to make a cohesive whole. It’s easy to see why music-hall crud like "Pool Hall" was left off the album but slink like "Cadillac Interlude/Cleo's Apartment", "Crap Game…", "Outside Police Station", "Cleaners/Cleo" and the sexy patter of "Penthouse" are so good and moodily atmospheric that they make you want to check out the actual movie itself (well almost). Although the Film Band Bonus "T" At The Cross is probably the worst audio on here – its string arrangement is lovely and I can hear why it was included despite the wall of hiss that comes at you as it plays.

Apart from the presentation glitch – this is yet another superb Hip-O Select Motown release (they did the award-winning Singles Box Sets Volumes 1 to 12A).

As the years go by – Marvin Gaye's legend only grows. And I'll be honest – this fabulous reissue made me shed a tear. Put the blame on Mister T people…

Monday, 5 May 2014

"Live At Last! / Sails On Silver" by STEELEYE SPAN – A Review Of Their 1978 and 1980 Albums – Now Reissued And Remastered By Beat Goes On of The UK Onto a 2014 2CD Set…


Here is a link to AMAZON UK to get this 2CD remaster at the best price:


"…Set My Sails For The Sun…" – Live At Last! and Sails Of Silver by STEELEYE SPAN on CD

Steeleye Span fans are going to enjoy BGO’s remasters of these forgotten English Folk Rock albums from 1978 and 1980 – both CDs sporting top quality audio and classy presentation. Here are the bonnie wee details…

UK released June 2014 – Beat Goes On BGOCD 1147 (Barcode 5017261211477) breaks down as follows:

Disc 1 (49:39 minutes):
Tracks 1 to 7 are the album “Live At Last!” – originally released November 1978 in the UK on Chrysalis Records CHR 1199. It was their 11th album and first live set (recorded 8 March 1978 in Bournemouth) - issued shortly after the band had disbanded.

Disc 2 (37:32 minutes):
Tracks 1 to 10 are the album “Sails On Silver” – originally released November 1980 in the UK on Chrysalis CHR 1304. It was their 12th album and the first studio LP with the re-formed band.

Housed in a pretty card slipcase – the 16-page booklet is extensive and features new liner notes by noted writer John O’Regan. But the big news is the Andrew Thompson remasters which are superbly done – clarity and muscle – even if the cluttering instruments of “Sails” threaten to drown everything.

For an onstage album – the sound quality is incredible on “Live At Last!” – amazing clarity and presence. In fact at times it sounds like the record was recorded ‘live’ in a studio – every instrument beautifully reproduced and the vocals full of resonance and depth. The prelude chat to the crowd before “Bonnets So Blue” about fertility dances and things that go limp in the night is very witty and greeted with appreciative hoots. But at 14 minutes plus I find “Montrose” just too long for comfort. “Saucy Sailor” combines with the Brecht/Weill song “Black Freighter” and features Maddy Prior in great voice – convincingly switching between Folk Rock one moment and English lullaby the next. 

The first studio album of the new decade moved away from purist Folk and into the Eighties penchant for multi-layered production and slick songs. I remember it was met with praise and derision at the time. “Sails On Silver” opens up with the rocking title track (lyrics above) where the band sounds like Fairport Convention on a Prog Rock bender. The slick Gus Dudgeon production values continue on the sophisticated and lovely melody of “My Love” with its treated acoustic guitars and electric pianos. But neither “Barnet Fair” nor “Senior Service” has dated well – hustling to be singles at the time - but sounding utterly naff now.

Things pick up with the ballad “Gone To America” and Side 2 opens with the excellent “Where Are They Now” where the Rock and Folk traditions meet and work. “Let Her Go Down” is pretty too but “Longbone” has a poorly produced echo vocal that irritates. It ends on the violin melody of “Marigold/Harvest Home” and the acoustic builder “Tell Me Why” which is probably the best song on what I think is a patchy album.

Steeleye Span divide British Folk fans – they were neither here nor there – and on the evidence of what’s presented here – it’s easy to see why. When they were good – they were superb. But like so many acts in the Eighties – they seemed to lose track of everything that mattered – tunes and musical roots got replaced by technicality and polish and over-production.


Having said that – this is a quality reissue - superb presentation and great audio remasters…

Sunday, 4 May 2014

"The Apartment" on BLU RAY – A Review Of The 1960 Billy Wilder/I.A.L. Diamopnd Classic Movie Starring Jack Lemmon, Shirley MacLaine and Fred McMurray…





Here is a link to AMAZON UK to get this BLU RAY at the best price:

http://www.amazon.co.uk/gp/product/B00CBI0AM2

"…It'll Be Our Little Secret…" – The Apartment on BLU RAY

It’s November 1959 - and sat at Desk 861 in the towering New York City Central Office of Consolidated Life (the 5th biggest insurance company in the USA) – sits lowly worker C.C. Baxter. Clifford Charles (nicknamed Bud) is up on the 19th floor every day at 08:50 a.m. precisely - monotonously tapping away on his Priden calculating machine like all the other 31,259 employees sat in long lines of square desks behind him. But Bud has a more pressing 'problem' than working out in his brain how far eight million New Yorkers will stretch if laid out side-by-side – access to his Manhattan apartment situated a short distance away from Central Park and near the office…

You see Apartment 2A in 51 West 67th Street has become rumpy-pumpy central for a group of managerial types at Consolidated Life. There’s Mr. Eichelberger from Mortgage and Loans booked in on Friday, Mr. Kirkeby from Accounts going at it on Thursday and Mr. Vanderhoff from Public Relations having an extra-martial swing on Wednesday. Bluntly there’s barely enough room for Mr. Dobisch from Admin come the weekend - nor even space for Switchboard Sylvia partnered with the cheap but suavely dressed Mr. Lieberman on Tuesday.  

You wouldn’t mind if they were gentlemen about it either. “You mean you bring other dames up here! Certainly not! I’m a happily married man!” Lieberman complains as Sylvia asks for cab fare back to the Bronx. Bud has to wait outside his apartment in the cold night air for the two lovebirds to clear off. They said they’d be out by eight – but it’s already quarter before nine. “These things don’t run to a clock!” he explains to Bud when he has to go back to get Sylvia’s galoshes. It’s a wonder Bud finds time for a TV dinner, a classic movie on his black and white TV that never seems to arrive because of craftily placed advert breaks (“A word from our sponsors…a word from our alternate sponsors!”) or to clear away the Vermouth bottles and empty Cheese Cracker packets.

Worse – on hearing the noises emanating from his bachelor pad - his impressionable Jewish neighbours Dr. and Mrs. Dreyfuss think Bud’s a massive playboy - “Mildred! He’s at it again!” the Doctor cries. So why does Bud put up with it all? Because he’s really hoping that all those corporate promises made by randy execs back in the office will help him climb the promotion ladder to maybe 2nd Administrative Assistant. But when he gets locked out of 2A until 4 a.m. one night and develops a fever from sleeping on a Central Park bench – he slowly twigs that his ‘loyal, resourceful and co-operative’ nature as described in their internal reports is being taken advantage of (dialogue above) - and for a wage of $95 a week – it’s all starting to become a bit much.

The only other human joy Bud gets is from his daily close-proximity meets with the pretty Fran Kubelik (Shirley MacLaine) – a nice respectable girl who operates one of the 16 elevators in the office skyscraper. Bud takes off his hat for her (the only one who does - which she likes) – and on occasion exchanges schmuck talk with her. Fran seems smart and wears a flower in the lapel of her immaculate uniform while fending off the roving hands of managers patting her buttocks as they exit on Floor 27. Then one night Bud musters up the courage to ask Fran out – but she has other plans - a date with Jeff Sheldrake from Personnel (Fred McMurray) – whom his secretary Miss Olsen (Evie Adams) knows is a notorious womanizer and is very, very good at it.

And on it goes to a hopeful Christmas party, a disastrous date with two tickets for the comedy show “The Music Man” where she doesn’t show and an unintentional personality reveal on her part with a broken vanity mirror that he recognizes to his horror. Will the hapless couple see the error of their ways – will they end up playing gin rummy together in ‘their’ apartment – in love – and free from manipulation and takers…

Much like “Pillow Talk” from the year previous – “The Apartment” was a staggeringly grown-up movie for 1960. It offered up probing dialogue, genuine wit on the battle of the sexes and awkward truths on relationships in the workplace. It also featured believable yet likeable characters - five womanizing schmucks, a gullible but worthy leading lady and one bungling but sincere klutz who learns the hard way how to be a stand-up guy.

The script came to Director Billy Wilder via two places – a viewing of Britain’s “Brief Encounter” in the Forties where a married couple use someone else’s home in London for an affair – and a notorious Hollywood scandal where it transpired that the mogul charged had been using the apartment of an employee. Wilder then brought in the genius of I.A.L. Diamond to give the harsh script a warmer touch (legend has it that IAL stands for Interscholastic Algebra League which Izzy Diamond won in 1937).

They began by toning down everything – the apartment isn’t Central Park West lushness colourful with money – it’s dowdy and filled with used records, curling art prints on the wall, a lone lamp, an old gas oven and the everyman of Jack Lemmon. Shot in Widescreen Black and White – the tones made the November evenings feel chillier and the massive long office floor look like a monochrome factory where life is not lived but wasted away on paperwork. Even the famous suicide scene where Fran (Shirley MacLaine) tries to off herself with sleeping pills sees the doctor next door (a fantastic Jack Kruschen) violently slap her face, make her walk and force cups of coffee down her throat to stop the stupor from killing her. And the four Office Managers are all ordinary-looking middle-aged men who really should know better – they’re not sexy – they’re just high on power and kicks. It’s not pretty and quite dark in its undertones in places. So - how do you get affection and redemption out of this saucy stew?

The answer is the acting talent of Lemmon and MacLaine and a multi-layered script imbibed with pathos and humour to soften the underbelly of seediness. Coming off “Some Like It Hot” – Jack Lemmon showed what he could do – but ‘The Apartment” let him shine - doing comedy, romance and drama – all in the one movie. The leading actress needed to be sexy, ballsy, vulnerable and likeable enough to not be perceived as a sappy victim – and Shirley MacLaine delivered on every front. Their slow dance towards each other is beautifully and realistically handled - while Fred McMurray goes completely against nice-guy type by being a cruel man dressed up in groomed civility – doling out smiling condolences from the other end of a phone where he doesn’t haven’t to get his actual hands dirty.

The picture quality is excellent – and on occasion – gorgeous. The Aspect Ratio is 2.35:1 Widescreen so there are bars top and bottom – but even stretched to Full Screen – it looks great. From the moment the opening credits appear – it’s obvious too there’s been extensive cleaning and restoration. There is however a very fine shimmer of natural grain throughout that rarely disappears. But when it does – the picture suddenly becomes exceptional – almost noir in its lighting and shades. The scene between McMurray and MacLaine in the Chinese restaurant The Rickshaw where he once again promises to leave his wife for a woman is one such moment – a side profile shot as they talk – and it’s just beautiful to look at.

The Extras are pleasingly deep. A discussion on the film that includes Nineties interviews with Evie Adams, Shirley MacLaine, Jack Lemmon’s son Paul and film experts on Wilder and Diamond. There’s also a fabulous commentary by BRUCE BLOCK for the duration of the movie where he gives real details on the actors, the sets and even quotes from Wilder’s screenplay to show the accuracy of how scenes were depicted (his description of “The Apartment” itself is filled with exact items he wanted).  It’s exemplary stuff. Audio is English 5.1 TS-HD Master Audio, Spanish Mono and French Mono. Subtitles are English for the Hearing Impaired, Spanish and French.

“I love you…so completely…” Jack Lemmon says to Shirley MacLaine. Finally contented that she’s picked the right guy this time – Shirley smiles affectionately at Jack – and with that old confidence back in her voice says - “Shut up and deal…”


A great film rather than a good one - book a night in for a game of emotional Gin Rummy with "The Apartment" real soon.

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