"The Big Sleep" - The 1946 Film (2017 Warners/HMV UK 'Premium Collection' BLU RAY Reissue) - A Review by Mark Barry...

"…I'm Getting Cuter Every Minute…"

THE BIG SLEEP from 1946
2017 Warners/HMV UK 'Premium Collection' BLU RAY, DVD and Download Reissue

Directed by Howard Hawks and released in the summer of 1946 - No. 49 in the UK-issued Warners 'Premium Collection' BLU RAY Reissue Series is a true classic of the Noir genre – the witty, clever and impeccably stylish Bogart & Bacall vehicle - "The Big Sleep". Also UK-released 6 November 2017 onto BLU RAY is that other famous Bogart winner from five years earlier (1941) – "The Maltese Falcon".

Despite its occasional script references to the huge shadow of World War II – "The Big Sleep" positively brims with new sexiness, vim, great dialogue and a double-act chemistry that simply can’t be bought in any department store no matter how swanky. Here are the guns, gas-guzzlers and glamorous gals...

The outer glossy card slipcase housing the clear plastic case within lends this 2-disc release a very classy feel and the banded four artcards clipped inside are a very nice touch indeed (one of the cover-art movie poster and three of Bogart and Bacall in various close-up clinches). It’s a 2-Disc Set – a BLU RAY and a DVD – the BLU RAY is listed as Region ABC – All Regions or Region Free – so no issues with playback anywhere. But remember the DVD is Region 2 only – so Region 1 and 3 buyers should note this (however most will be buying this reissue for the All Regions BR disc). There is no booklet mores the pity (only 6 titles out of 56 so far in this British series have one) - but there is a ‘Watch It Anywhere’ Digital Download Code Sheet to use so you can watch the movie on the go on your mobile device. Technical details are...

Aspect Ratio: 1080 High Def 16x9 1:37:1

Audio is DTS-HD in English 2M, Dolby Digital, Castillan Spanish 2M, French 2M, German 2M, Latin Spanish 2M and Polish 2M.

Subtitles: English SDH, Castillan Spanish, French, German SDH, Latin Spanish and Polish

Extras include (a) the 1945 Alternate Version (b) The Big Sleep Comparisons 1945/1946 (c) Introduction by Robert Gitt and (d) Theatrical Trailer.

As you can see from the info above – the film in presented in its original Aspect Ratio of 1:37:1 (not widescreen) – which means a boxed view with black lines on both the left and right. The restored print is a joy to look at. From the moment Private Eye gumshoe Philip Marlowe enters the upmarket household of a wheelchair-bound General Sternwood to discuss his flighty mid-20s daughter Carmen and her debts to a bookstore owner – the print is glorious in all its Black and White Raymond Chandler period pomp (Sidney Hickox did the Cinematography).

Humphrey Bogart (Marlowe - a canny and suitably crumpled private eye), Charles Waldron (Sternwood - a cantankerous but practical father) and the gorgeous Martha Vickers as the young socialite Carmen slinkily smoozing everything in trousers – immediately start to light up the screen with their expertise and the sassy dialogue. But as soon as the older and smarter Sternwood daughter turns up – Lauren Bacall as Vivien Rutledge – and she gets to tangle with a clearly enamoured Bogie – the real sizzle begins. Vivien suspects that her wealthy papa has murderous enemies and the real reason he wants Marlowe is to not just plug his daughter's gambling connections and ability to bring scandal to the family name - but to find a young lad called Sean Regan who has disappeared mysteriously with secrets that can’t ever fall into the wrong hands. And on the story goes - twisting and turning and wrong-footing - as the Noir genre does. In fact the plot is bloody hard to follow at times if not impossibly convoluted - but who cares when it looks this good and has Bogart and Bacall steaming up the lends every few minutes.

The original 1945 version at 116 minutes is only a deuce longer than the re-shot, re-edited and re-released 1946 version (114 minutes) - but it has a different structure and ending. Also the part of Mona Mars played by Pat Clark in the first cut is replaced with Peggy Knudsen in the finally released 1946 version. The re-shoot took place for many reasons - mostly though because Hawks realised what was happening between Bogie and Bacall and he was smart enough to exploit their visual and physical dynamite. Their obvious affection and sexiness towards each other also ran in tandem with huge public interest in their slightly scandalous marriage. Hawks did well of course to milk that famous off-screen/on-screen chemistry - even though in my books you could argue that the seriously sexy Martha Vickers actually outshines Bacall (sacrilegious talk I know). And the bookstore assistant played by Dorothy Malone is equal to the task too (she only just passed in January 2018 aged 93).

Many have described the chemistry between Bogart and Bacall as incendiary – true – but for me it's the banter – the one-two verbal sucker punches from the William Faulkner, Leigh Brackett and Jules Furthman screenplay that send this movie soaring. Check these out...

Bacall: So you're a private detective. I didn't know they existed - except in books. Or else they were greasy little men snooping around hotel corridors. My - you're a mess - aren't you?

Bogart: I'm not very tall either. Next time, I'll come on stilts, wear a white tie and carry a tennis racket.

Bacall: I doubt if even that would help...

Bacall: I don't like your manners.

Bogart: I don’t like them either. I grieve over them long winter evenings...

In the bookstore – the initially friendly assistant (a front) smells a rat as Bogey grills her on her first edition expertise...knowledge she clearly doesn’t have...

Bogart: You do sell books - don't you?

Assistant (points downwards): What do they look like – grapefruit!

This is a film where gals are gals and any chump who gets fresh gets a sock in the jaw. Women casually says things like “...A lot depends on who’s in the saddle...” and this moll ain’t talking about her man’s odds at Epsom. Nobody smiles – people sleep in cars – smucks drown in cars – cops are either dead or dirty or both - shop assistants look like Harpers Bizarre models and any man without a Trilby is a bagman probably carrying a concealed weapon he intends to slug some wise guy with. And don’t get me started on the cool cars.

I love it - and this 2017 variant of "The Big Sleep" on BLU RAY is a sexy treat you need in your gangster's boudoir...

PS: Info on the Warner Brothers 'Premium Collection' BLU RAY Reissue Series 

Released In Conjunction With HMV UK (releases 2016 to 2018):

Each 2-Disc Set Contains a BLU RAY, a DVD, a Digital Download Code (with Ultraviolet), an Exclusive Outer Glossy Slipcase and 4 Art Cards (usually one is the movie poster and others are stills from the movie). None of the 56 releases to date have booklets except where noted (11, 27, 31, 40, 48 and 53) with “Casablanca” being the only issue in the Series with Three-Discs. The Entire Series is numbered on the silver spine with the year of the film's release above that number (as per the list below). Begun in October 2016 - releases are ongoing into 2018 and while some have been available in the USA - many titles are first time on BLU RAY in the UK and Europe...

2016:

1. Them (1955) - released 3 October 2016 - Barcode 5051892202770

2. Forbidden Planet (1956) - released 3 October 2016 - Barcode 5051892202985

3. The Omega Man (1971) - released 3 October 2016 - Barcode 5051892202763

4. Soylent Green (1973) - released 3 October 2016 - Barcode 5051892202756

5. All The President's Men (1976) - released 3 October 2016 - Barcode 5051892202626

6. Logan's Run (1976) - released 3 October 2016 - Barcode 5051892202718

7. The Shining - Extended Cut (1980) - released 3 October 2016 - Barcode 5051892202206

8. Diner (1982) - released 3 October 2016 - Barcode 5051892202664

9. Little Shop Of Horrors (1986) - released 3 October 2016 - Barcode 5051892202749

10. Gremlins 2: The New Batch (1990) - released 3 October 2016 - Barcode 5051892202848

2017:

11. King Kong (1933) - released 27 February 2017 - Barcode 5051892206600 (with 32-Page Booklet)

12. The Adventures Of Robin Hood (1938) – released 27 February 2017 - Barcode 5051892206921

13. Excalibur (1981) – released 13 March 2017 - Barcode 5051892206280

14. The Mission (1986) - released 13 March 2017 - Barcode 5051892206877

15. Jason & The Argonauts (1963) - released 13 March 2017 - Barcode 5050349003724

16. The Hunger (1983) - released 17 Apr 2017 - Barcode 5051892207638

17. Performance (1970) - released 17 Apr 2017 - Barcode 5051892207621

18. The Time Machine (1960) - released 8 May 2017 - Barcode 5051892208291

19. Outland (1981) - released 8 May 2017 - Barcode 5051892208215

20. A Scanner Darkly (2006) - released 8 May 2017 - Barcode 5051892208857

21. Gattaca (1997) - released 8 May 2017 - Barcode 5050349523925

22. Donnie Brasco (1997) - released 29 May 2017 - Barcode 5050349609926

23. Blow (2001) - released 29 May 2017 - Barcode 5051892208277

24. Battle Of The Bulge (1965) - released 5 June 2017 - Barcode 5051892208260

25. The Dirty Dozen (1967) - released 5 June 2017 - Barcode 5051892208284

26. Casualties Of War (1989) - released 5 June 2017 - Barcode 5050349145820

27. Gettysburg: Director's Cut (1993) - released 12 June 2017 - Barcode 5051892208321

28. Jeremiah Johnson (1972) - released 12 June 2017 - Barcode 5051892208307

29. Legends Of The Fall (1994) - released 12 June 2017 - Barcode 5050629158823

30. Sex, Lies And Videotape (1989) - released 17 July 2017 - Barcode 5050349292623

31. A Streetcar Named Desire (1951) - released 17 July 2017 - Barcode 5051892209236

32. Cat On A Hot Tin Roof (1958) - released 17 July 2017 - Barcode 5051892209274

33. Who's Afraid Of Virginia Woolf? (1966) - released 17 July 2017 - Barcode 5051892209328

34. White Heat (1949) - released 14 August 2017 - Barcode 5051892209687

35. The Public Enemy (1931) - released 14 August 2017 - Barcode 5051892209656

36. Little Caesar (1931) - released 14 August 2017 - Barcode 5051892209618

37. Point Blank (1967) - released 18 September 2017 – Barcode 5051892209632

38. The Yakuza (1974) - released 18 September 2017 - Barcode 5051892209663

39. Body Heat (1981) - released 18 September 2017 - Barcode 5051892209557

40. Chinatown (1974) - released 18 September 2017 - Barcode 5053083131807

41. Shaft (1971) - released 2 October 2017 - Barcode 5051892209649

42. New Jack City (1991) - released 2 October 2017 - Barcode 5051892209625

43. Pet Sematary (1986) - released 16 October 2017 - Barcode 5053083131814

44. House Of Wax 3D (1953) - released 16 October 2017 - Barcode 5051892209984

45. The Haunting (1963) – released 16 October 2017 – Barcode 5051892209915

46. A Clockwork Orange (1971) - released 16 October 2017 - Barcode 5051892210867

47. The Maltese Falcon (1941) - released 6 November 2017 - Barcode 5051892209922

48. Casablanca (1942) - released 5 February 2018 (delayed release) - Barcode 5051892209816 (Three Disc Special Edition with Booklet)

49. The Big Sleep (1946) - released 6 November 2017 - Barcode 50501892209892

50. Lost Horizon (1937) - released 6 November 2017 - Barcode 5050629028638 (80th Anniversary Reissue/4K Restoration with Booklet)

2018:

51. Amistad (1997) - released 15 January 2018 - Barcode 5053083134747

52. Munich (2005) - released 15 January 2018 - Barcode 5053083134754

53. (Frank Capra's) Mr. Smith Goes To Washington (1946) – released 5 February 2018 – Barcode 5050629038132

54. The Beast From 20,000 Fathoms (1953) – released 26 February 2018 – Barcode 5051892212618

55. Clash Of The Titans (1981) – released 26 February 2018 – Barcode 5050189221263

56. Valley Of The Gwangi (1969) – released 26 February 2018 – Barcode 5051892212625

"A Man I'd Rather Be (Part 1)" by BERT JANSCH (January 2018 Earth 4CD Book Set with 2015 Remasters) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"...Stepping Stones..."

I'm probably going to disappoint a few BJ fans with this review (I'm let down myself) - but I'm absolutely dumbfounded by the lacklustre presentation of this Book Set from 'Earth' and the fact that it contains nothing I couldn't get elsewhere - and frankly cheaper. It does have great points - namely the amazing Audio - but again that's available elsewhere too and in better presentation also. But let's get into the nitty gritty of this 4-Disc reissue first...

UK released Friday, 26 January 2018 (2 February 2018 in the USA) - "A Man I'd Rather Be (Part 1)" by BERT JANSCH on Earth EARTHCD023 (Barcode 809236102324) is a Limited Edition 4CD 'Book Set' that contains his first four albums on Transatlantic Records from 1965 and 1966 (two in each year). Volume 2 is released 26 February 2018 and contains the following four. There are also 4LP VINYL variants of these releases. It plays out as follows...

Disc 1 - "Bert Jansch" - 39:32 minutes

1. Strolling Down The Highway [Side 1]

2. Smokey River

3. Oh How Your Love Is Strong

4. I Have No Time

5. Finches

6. Rambling's Going To Be The Death Of Me

7. Veronica

8. Needle Of Death

9. Do You Hear Me Now? [Side 2]

10. Alice's Wonderland

11. Running From Home

12. Courting Blues

13. Casbah

14. Dreams Of Love

15. Angie

Tracks 1 to 15 are his debut album "Bert Jansch" - released April 1965 in the UK on Transatlantic Records TRA 125 in Stereo (No US Issue). Produced by BILL LEADER - all songs written by Jansch except "Angie" which is a Davy Graham cover. Jansch plays Acoustic Guitar only.

Disc 2 - "It Don't Bother Me" - 44:07 minutes

1. Oh My Babe [Side 1]

2. Ring-A-Ding Bird

3. Tinker's Blues

4. Anti Apartheid

5. The Wheel

6. A Man I'd Rather Be

7. My Lover

8. It Don't Bother Me [Side 2]

9. Harvest Your Thoughts Of Love

10. Lucky Thirteen

11. As The Days Grow Longer Now

12. So Long (Been On The Road So Long)

13. Want My Daddy Now

14. 900 Miles

Tracks 1 to 14 are his 2nd album "It Doesn't Bother Me" - released December 1965 in the UK on Transatlantic Records TRA 132 in Stereo (No US Issue). Produced by NATHAN JOSEPH - all songs written by Jansch except "Lucky Thirteen" by John Renbourn, "So Long (Been On The Road So Long)" by Alex Campbell and "900 Miles" - a Traditional. John Renbourn plays guitar on "My Lover" and "Lucky Thirteen".

Disc 3 - "Jack Orion" - 32:38 minutes

1.  The Waggoner's Lad [Side 1]

2. The First Time Ever I Saw Your Face

3. Jack Orion

4. The Gardener [Side 2]

5. Nottamun Town

6. Henry Martin

7. Black Water Side

8. Pretty Polly

Tracks 1 to 8 are his 3rd album "Jack Orion" - released September 1966 in the UK on Transatlantic Records TRA 143 in Stereo (No US Issue). Produced by BILL LEADER - all tracks are Traditional Songs arranged by Bert Jansch except "The First Time Ever I Saw Your Face" which is a Ewan MacColl song. Jansch plays Acoustic Guitar on all songs as well as Banjo on "The Waggoner's Lad" with Guitar accompaniment from John Renbourn on four songs - "The Waggoner's Lad", "Jack Orion", "Henry Martin" and "Pretty Polly".

Disc 4 - "Bert And John" - 26:32 minutes

1. East Wind [Side 1]

2. Piano Tune

3. Goodbye Pork Hat

4. Soho

5. Tic-Tocative

6. Orlando

7. Red's Favourite [Side 2]

8. No Exit

9. Along The Way

10. The Time Has Come

11. Stepping Stones

12. After The Dance

Tracks 1 to 12 are his 4th album credited to BERT JANSCH and JOHN RENBOURN - released September 1966 in the UK on Transatlantic Records TRA 144 in Stereo (No US Issue). Produced by BILL LEADER - all songs are Jansch and Renbourn originals except "Goodbye Pork Pie Hat" and "The Time Has Come" which are Charles Mingus and Anne Briggs covers respectively.

Although there's no mastering credits anywhere (amazingly lax) - it's clear to me that these are the 2015 '50th Anniversary' Remasters done by BARRY GRINT in Alchemy for BMG and issued in digipaks with 12-page booklets (Earth have licensed that material). "Bert Jansch" was issued April 2015 on TRACD 125 (Barcode 5414939917516) – with the other three in September 2015 - "It Doesn't Bother Me" on TRACD 132 (Barcode 5414939921483) - "Jack Orion" on TRACD 143 (Barcode 5414939921513) and "Bert and John" on TRACD 144 (Barcode 5414939921544). These four reissues are still available on Amazon for approximately six quid each (same tracks no extras) and I mention this because here you don't get any artwork or notes really. The blurb on the sticker tells you that you get Keith de Groot's original back-cover liner notes for 1965's "Bert Jansch" as well as Jansch's own notes for the other three LPs which were also on the rear sleeve. Well - the first LP is here but the other three aren't. You don't even get the LPs front or rear artwork repro'd anywhere! I suppose my biggest gripe is that the book's minimalist approach ends up looking like a cop-out instead of a visual hurrah.

The supposed new notes from BILL LEADER (Producer of three of the albums) runs to about 4 short pages and he spends much of his time apologising for the poor sound on the 1st LP and doesn't discuss the recording of the following three at all. In fact most of the page-leaves are taken up listing the tracks. There are some new outtake photos for the first record and the "Bert and John" collaboration - but other than that - bugger all else – no memorabilia – no concert tickets – hell the blurb in the Amazon description runs to longer (the essay you do get doesn’t contain any comments from any famous musical admirers). The incredibly rare and desirable September 1966 5-Track EP called "Needle Of Death" had two exclusives - "Running From Home" and "Green Are Your Eyes (Courting Blue)" - but despite the ludicrously short playing times on Disc 3 and 4 - they're AWOL. There's no extras or unreleased either - the 1993 Transatlantic/Demon reissues had those - not here!

The AUDIO is however spectacular - with even the notorious lo-fi debut coming out smelling of clean roses (it was recorded with a Guitar, a Voice, a Microphone and in a less-than-studio like Camden Flat). Both "Jack Orion" and especially "Bert And John" are fabulous to hear - the duelling instrumental guitars of "Bert And John" pinging in both speakers with lovely warmth and clarity. You have to say that the music is beautifully rendered - much like what was done by Island Records for the Nick Drake catalogue in 2000. And speaking of influential "Stepping Stones" to the ninth-degree - you can 'so' hear why singer-songwriters like Tom Paxton and Paul Simon loved Jansch for taking Folk past the realms of merely strummed instruments and into something new (almost early Folk Rock) and why mega-guitarists like Jeff Beck and Jimmy Page obsessed on the man and his techniques ("Black Water Side" famously turned up on "Zeppelin 1"). Other gems include his "Lucky Thirteen" duet with John Renbourn - just sublime - and that version of Anne Briggs' "The Time Has Come" still has the power to move too (I’d go on record in saying that I love his voice – expressive and emotive in a way that English Folk needs). The last two Acoustic instrumentals on the "Bert And John" album - "Stepping Stones" and "After The Dance" have some hair-raising duetting – the notes slapping and strings squeaking like their dancing a dervish. In fact some 50+ years after the event – it’s still shocking as to how good these albums are and how they’ve stood up. Wow...

If you have the four 2015 '50th Anniversary' CD reissues with their tasty digipaks, 12-page booklets and gorgeous remasters from original tapes - then disappointingly this near 30-pound Earth Records Book Set from January 2018 is a waste of your time and money (it really isn't that pretty to look at either). I'm afraid I'm seriously thinking of cancelling my pre-order for Volume 2.

But if you don't own them - well then you may want to consider ordering this especially with the stupendous Audio on offer. I just wish "A Man I'd Rather Be (Part 1)" actually had been a must-buy celebration of Bert Jansch the man and his huge musical legacy instead of a visual ho-hum...

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"The Jewish Joke" by DEVORAH BAUM (2017 Profile Books Hardback) - A Review by Mark Barry...

"...Shlemiels and Shiksas..."

Witty and wise and rather wonderful - "The Jewish Joke - An Essay With Examples (Less Essay, More Examples)" by DEVORAH BAUM was recommended to me by a reviewer I admire and trust - Sid Nuncious - and the dapper little English gent was bang on the money.

I bought the hardback for a tenner off Amazon - a wee thing about the size of an oversized iPhone 8. Published by Profile Books in 2017 – its 180+ pages come with 24 chapters of about five or six leaves each - thereby allowing you to dip into one or two installments of an evening for only a few minutes and come back the next night for more laughs and chucklesome insights.

Devorah has Chapter Titles like "How Do You Tell The Difference Between A Jewish Mother and a Jewish Mother-In-Law" or "How Do You Tell The Difference Between Morality and Neurosis?" - or the ever popular "How Do You Tell The Difference Between A Jew And A Parrot?"

What she does is set up an 'angle' in each of the discussions - she'll pepper the next with absolutely loads of very funny Jewish jokes (in italics) and then examine in brilliant minutiae exactly what's going on - morally, psychologically and even physically. There's that famous Jewish self-deprecation in the face of horrible odds - Two Jews are in a Nazi firing squad - the Squad Captain asks - any last requests - the first Jew shouts, "There's been a terrible mistake!" The second Jew says, "Moishe, don't make trouble..." Obsession with Religion - the Jews wander for 40 years in the desert in the Bible - why - because none of the men would ask for directions.

The book is full of these wickedly witty observations and half the joy here is the constant discovery that there’s more on the next few pages to come (you don't laugh at them - you laugh with them). She also tries hard to get a grip on the slippery nature of the Jewish people and succeeds without being preachy or pseudo-intellectual. And as you read the quotes and words – I like too how you can so ‘hear their voices’ coming off the pages – the funny peculiar way Jews deal with life in all its random messiness. So come the final chapters you’re chock-full of admiration at their genuine God-given funny bones combined with the sheer brass schnitzels and brain power it takes to stand up there behind some microphone in the dark and give people the joy of laughter.

The themes are well worn. Deborah has of course a field day with the Jewish Boy and his domineering scheming mother (even if she does love him or her) - the Jewish Father arguing with God or his friends (they're both schmucks in his eyes) - the braggadocio Jew going on about his huge business or love prowess when he probably has little of either. And in amongst the first-name mentions of characters like Moishe, Saul, Ira, Schmuley, Itzhik, Jerry the Dentist and Ismael the Doctor and their nosey neighbours the Goldsteins – there are of course doubting Gentiles, rowdy Synagogues and randy Rabbis. You get endless studying of the Torah, Hebrew and strict adherence to Yom Kippur, Yiddish and Kosher Food (God forbid there should be shell fish at the Mitzvah). There are Jewish slang phrases we’ve all heard in so many Woody Allen movies like Schnorrer, Schlemiel, Shiksa and Kvetching. Oy vey indeed Mrs. Rosenberg. And of course the big one - Religion – where she surmises that some Jews feel God abandoned them (especially historically) – while others would like to measure a suit for the rotund absentminded git (at a very good price of course).

If I was to be pedantic - you could add that some jokes are better than others and the formula begins to slow towards the final few chapters. But although she does forget to mention or quote some of my all-time favourites like Don Rickles, Mel Brooks and the frankly Godlike Billy Wilder (huge innovators in comedy) - many other famous Jewish comedians (old and new) are rightly name-checked and quoted - Jerry Seinfeld, Lenny Bruce, Woody Allen, Amy Schumer, Sacha Baron-Cohen, David Baddiel, Lena Dunham (of Girls fame), Sarah Silverman, Rita Rudner, Joan Rivers, Cathy Ladman, Maureen Lipman, Jackie Mason and Groucho Marx - to name but a few.

After enjoying this you should make a beeline to a Comedy TV series I’ve been raving about for a while now. "The Marvelous Mrs. Maisel" is set in Fifties New York and is entirely Jewish in its humour - a very witty show about stand-up comedians and breaking free from emotional chains. It won two American Golden Globes in January 2018 for Best Comedy and for its lead actress – Rachel Brosnahan.

Why do Jewish Comedians have that lethal way with humour and jokes - is it history, hardship, necessity, talent, genius, drive? And how do they maintain a healthy self-deprecating humility that guides their generosity and humanity in the face of persecution and bigotry? I don't know. But in a roundabout way – "The Jewish Joke" celebrates their extraordinary contribution to our world. This wicked little book truly reveals how Jews make us laugh – even bellyache - to the point where there are tears rolling down your face. And isn’t that just the best...

"Amistad" on BLU RAY (2018 Warners/HMV UK 'Premium Collection' BLU RAY, DVD and Digital Download Reissue) - A Review by Mark Barry...

"...Is He The Chief? I Don't Think So..."

No. 51 in the Warners 'Premium Collection' for BLU RAYS is Steven Spielberg's "Amistad" from 1997 – released 15 January 2018 alongside his 2006 film "Munich" which is title No. 52.

In late February 2018 – this UK series will reach title No. 56 (I've compiled the full list below with Barcodes so you can locate the right issue). Please note – there is also a Warners 'Premium Collection' out of Europe (Germany I think) where titles come in 'Digibook' form. Most releases in that film series are different to their UK counterparts ("Excalibur" appears to be the only duplicate). Examples of European 'Premium Collection' releases include Troy, A.I., The Matrix, The Butterfly Effect, 10,000 BC, The Golden Compass, John Rambo, The Hurt Locker, Body Of Lies, Shoot 'Em Up and many more. Back to this latest 'UK' reissue...

First up this new print for "Amistad" is beautiful in almost all places right from the opening sequence of Djimon Hounsou's wild eyes as he claws a nail out of wood aboard the 1839 Spanish slave ship "La Amistad". And it continues like that for most parts right to the end (when you see the Making Of – you will immediately notice the upgrade in image quality). The glossy card slipcase once again lends this 2-disc release a very classy feel and the banded four artcards clipped inside are a very nice touch indeed (principal actors in the movie). It’s a 2-Disc Set (BLU RAY and DVD) and is listed as Region ABC – All regions or Region Free – so no issues with playback anywhere. There is no booklet (mores the pity – only a few titles in this series have one) - but there is a digital download code sheet to watch the movie on the go. But for me that's where the good news ends...

Despite the amazing names in the cast (Nigel Hawthorne, Pete Postlethwaite, David Paymer, Stellan Skarsgard and Morgan Freeman) - re-watching "Amistad" is not a great experience. It's laden with lumpy unbelievable characters - ludicrously over the top acting (McConaughey's happy-wappy lawyer is grating instead of endearing) - and bumbling fun mixed with random horror. It all feels so dreadfully forced and clichéd and weighed down with its own importance unlike the far better "Lincoln" that touches on the same subject of abolishing slavery and uses courtrooms as a drama setting.

Hell even the Menu has music that feels like its some triumphalist Disney cartoon and when Hopkins appears in his bumbling rendition of an ageing President John Quincy Adams - we get the good-guy melodies just so we know we're in the presence of the benevolent white man. The Extras consist of a short "Making Of" and a Trailer (came with the DVD) and once again there's no Spielberg commentary - so in fact there's nothing new other than an upgraded image. Audio is English DTS-HD Master Audio 5.1 Surround (French, Portuguese and Spanish) with Subtitles in English, English SDH, French, Portuguese and Spanish.

If you're a fan - then the purchase is a worthy one - the best presentation of the movie so far. But if not - I'd advise a watch first before purchasing...

PS: For Info Purposes...

Warner Brothers 'Premium Collection' BLU RAY Reissue Series In Conjunction With HMV UK (releases 2016 to 2018):

Each 2-Disc Set Contains a BLU RAY, a DVD, a Digital Download Code (with Ultraviolet), an Exclusive Outer Glossy Slipcase and 4 Art Cards (usually one is the movie poster and others are stills from the movie). None of the 56 releases to date have booklets except where noted (11, 27, 31, 40 and 53) and “Casablanca” (No. 48) is the only issue in the Series with Three-Discs.

The Entire Series is numbered on the silver spine with the year of the film's release above that number (as per the list below)

Begun in October 2016 - releases are ongoing into 2018 and while some have been available in the USA - many titles are first time on BLU RAY in the UK and Europe...

2016:

1. Them (1955) - released 3 October 2016 - Barcode 5051892202770

2. Forbidden Planet (1956) - released 3 October 2016 - Barcode 5051892202985

3. The Omega Man (1971) - released 3 October 2016 - Barcode 5051892202763

4. Soylent Green (1973) - released 3 October 2016 - Barcode 5051892202756

5. All The President's Men (1976) - released 3 October 2016 - Barcode 5051892202626

6. Logan's Run (1976) - released 3 October 2016 - Barcode 5051892202718

7. The Shining - Extended Cut (1980) - released 3 October 2016 - Barcode 5051892202206

8. Diner (1982) - released 3 October 2016 - Barcode 5051892202664

9. Little Shop Of Horrors (1986) - released 3 October 2016 - Barcode 5051892202749

10. Gremlins 2: The New Batch (1990) - released 3 October 2016 - Barcode 5051892202848

2017:

11. King Kong (1933) - released 27 February 2017 - Barcode 5051892206600 (with 32-Page Booklet)

12. The Adventures Of Robin Hood (1938) – released 27 February 2017 - Barcode 5051892206921

13. Excalibur (1981) – released 13 March 2017 - Barcode 5051892206280

14. The Mission (1986) - released 13 March 2017 - Barcode 5051892206877

15. Jason & The Argonauts (1963) - released 13 March 2017 - Barcode 5050349003724

16. The Hunger (1983) - released 17 Apr 2017 - Barcode 5051892207638

17. Performance (1970) - released 17 Apr 2017 - Barcode 5051892207621

18. The Time Machine (1960) - released 8 May 2017 - Barcode 5051892208291

19. Outland (1981) - released 8 May 2017 - Barcode 5051892208215

20. A Scanner Darkly (2006) - released 8 May 2017 - Barcode 5051892208857

21. Gattaca (1997) - released 8 May 2017 - Barcode 5050349523925

22. Donnie Brasco (1997) - released 29 May 2017 - Barcode 5050349609926

23. Blow (2001) - released 29 May 2017 - Barcode 5051892208277

24. Battle Of The Bulge (1965) - released 5 June 2017 - Barcode 5051892208260

25. The Dirty Dozen (1967) - released 5 June 2017 - Barcode 5051892208284

26. Casualties Of War (1989) - released 5 June 2017 - Barcode 5050349145820

27. Gettysburg: Director's Cut (1993) - released 12 June 2017 - Barcode 5051892208321

28. Jeremiah Johnson (1972) - released 12 June 2017 - Barcode 5051892208307

29. Legends Of The Fall (1994) - released 12 June 2017 - Barcode 5050629158823

30. Sex, Lies And Videotape (1989) - released 17 July 2017 - Barcode 5050349292623

31. A Streetcar Named Desire (1951) - released 17 July 2017 - Barcode 5051892209236

32. Cat On A Hot Tin Roof (1958) - released 17 July 2017 - Barcode 5051892209274

33. Who's Afraid Of Virginia Woolf? (1966) - released 17 July 2017 - Barcode 5051892209328

34. White Heat (1949) - released 14 August 2017 - Barcode 5051892209687

35. The Public Enemy (1931) - released 14 August 2017 - Barcode 5051892209656

36. Little Caesar (1931) - released 14 August 2017 - Barcode 5051892209618

37. Point Blank (1967) - released 18 September 2017 – Barcode 5051892209632

38. The Yakuza (1974) - released 18 September 2017 - Barcode 5051892209663

39. Body Heat (1981) - released 18 September 2017 - Barcode 5051892209557

40. Chinatown (1974) - released 18 September 2017 - Barcode 5053083131807

41. Shaft (1971) - released 2 October 2017 - Barcode 5051892209649

42. New Jack City (1991) - released 2 October 2017 - Barcode 5051892209625

43. Pet Sematary (1986) - released 16 October 2017 - Barcode 5053083131814

44. House Of Wax 3D (1953) - released 16 October 2017 - Barcode 5051892209984

45. The Haunting (1963) – released 16 October 2017 – Barcode 5051892209915

46. A Clockwork Orange (1971) - released 16 October 2017 - Barcode 5051892210867

47. The Maltese Falcon (1941) - released 6 November 2017 - Barcode 5051892209922

48. Casablanca (1942) - released 5 February 2018 (delayed release) - Barcode 5051892209816 (Three Disc Special Edition with Booklet)

49. The Big Sleep (1946) - released 6 November 2017 - Barcode 50501892209892

50. Lost Horizon (1937) - released 6 November 2017 - Barcode 5050629028638 (80th Anniversary Reissue/4K Restoration with Booklet)

2018:

51. Amistad (1997) - released 15 January 2018 - Barcode 5053083134747

52. Munich (2005) - released 15 January 2018 - Barcode 5053083134754

53. (Frank Capra's) Mr. Smith Goes To Washington (1946) – released 5 February 2018 – Barcode 5050629038132

54. The Beast From 20,000 Fathoms (1953) – released 26 February 2018 – Barcode 5051892212618

55. Clash Of The Titans (1981) – released 26 February 2018 – Barcode 5050189221263

56. Valley Of The Gwangi (1969) – released 26 February 2018 – Barcode 5051892212625

57. McCabe & Mrs. Miller (1971) – released 19 March 2018 – Barcode 5051892213189

58. Badlands (1973) – released 19 March 2018 – Barcode 5051892212724

"Darkest Hour" - A Review by Mark Barry of the 2017 Film Starring Gary Oldman...

"...Facing Fearful Odds..."

Darkest Hour - The 2017 Film (A Review)

It's Friday, 12 Jan 2018 in the UK and we've just come from a packed cinema - opening night for "Darkest Hour" - so this review covers the film with the BLU RAY details to follow when its released later in the year.

First up – "Darkest Hour" is your first port of call for movie magic in 2018. Having said that and although it moved the audience I was with in a big way - it's far from perfect as a film - especially at the outset. But when it settles down and works - Joe Wright's latest is masterful stuff – rammed to the gunnels with a huge array of British talent and brilliance. The entire cast is magnificent - seriously stepping up to the acting plate for what you feel they instinctively know is a prestigious project.

Given the press and attention lavished on it - you might also think the whole film is dominated by Gary Oldman's utterly extraordinary performance as Winston Churchill (Oscar nominated and surely his first statue in the bag – he's already taken the Golden Globe this week) – it’s not. What makes it work is a combo of three things actually. Oldman as lead of course giving his version of Churchill unbelievable humanity under all those superlative prosthetics. Second is stunning support parts from a whole array of quality actors - Ben Mendelsohn as the stuttering, smoking King George IV, Kirsten Scott-Thomas a Winnie's long-suffering but quietly supportive wife Clemmie and absolute career bests from Ronald Pickup as the beleaguered ex Prime Minister Neville Chamberlain (a committed pacifist who had seen what carnage war brought to the ordinary man in World War 1) and especially Stephen Dillane as the capitulating silver-tongued Viscount Halifax (he played Stannis Baratheon in Game Of Thrones) - a performance so strong that it almost threatens to take Oldman's thunder. Add in great writing from Anthony McCarten and steady Direction from Joe Wright ("Pride & Prejudice" and "Atonement") - and "Darkest Hour" had tears streaming down our collective cinematic kissers - and on more than one occasion. Even Lily James whose beauty always sees her getting slotted into the 'pretty girl' role - gets her best part too as Churchill's secretary and typist Miss Layton. During one harrowing scene – she sits stilled in pain - unable to type any further - staring down heartbroken at a letter dictated by her boss that will send thousands of men to their death at Calais in order to act as a diversion for the hundreds of thousands stranded on the French coast at Dunkirk (the entire British Army) as European countries and freedoms falls like dominoes to Nazi invasion and tyranny. "Darkest Hour" is full of moments like this. The staggering sacrifices that had to be made and who had the sheer brass to make such crushing decisions...

A half-hour in and as "Darkest Hour" begins to settle down it starts to become an emotional stealth film - the information flow making you realize the sheer gravity of what was happening and to whom - the worst and best sides of humanity making you wince and beam in equal measure. Winston giving the order for Operation Dynamo - the flotilla of small privately owned boats heading to Dunkirk as a nation rallies around 300,000 of its stranded troops (Dario Marianelli and his score finally delivering an emotional sweep the movie really needed). The fabulous dialogue intensity in the War Room when Winston needs to silence the wimps and the naysayers – a one-on-one with the King in a quite bedroom where the PM finally gets the support of someone that matters (a former doubter) – a conversation with President Roosevelt on the phone (a wonderfully detached David Strathairn). In fact I can’t help thinking that it would be a hard heart indeed that would remain unmoved when faced with this level of emotional onslaught.

Then there’s the huge history of it – the fate of the Western World resting on such odd shoulders. His obvious big heart living in tandem with a monumental ego (many felt his initial speeches to the House of Commons were simply grandstanding by a washed-up aristocrat) – his sheer will of personality - instilling self-belief into a nation - understanding that they needed heady strength and even belligerence instead of tact and diplomacy (Spillane's character makes sense every time he speaks but also creepily lacks spine in the face of adversity). There are moments in this film when your chest heaves with the weight of what Churchill had to endure - the American Government hiding behind laws and agreements as England and its inhabitants lay moments away from destruction by true evil (and Roosevelt knew it) – a small man helpless in an even smaller broom closet with the walls slowly closing in. The cabinet bickering and jockeying for position of 'least personal blame' when a nation's very soul hung in the balance - his past military failures in Gallipoli constantly thrown in his face as evidence of his unsuitability for the job of waging war. His copious alcohol consumption, wheezing on chomped cigars, slurred speech, fits of forgetfulness and cantankerous outbursts with staff while he cheerily gives the public V-signs as if all is a bed of roses (apparently the government actively avoided public speeches because Winston came across as a sozzled mumbler). It's all here. And in the end - and perhaps even because of his faults and blemishes – a nation – our freedom - saved by an old beaten-up man with seemingly limitless inner reserves of oratory and grit. And of course as it all comes down to ‘that’ speech which Oldman delivers with beautifully controlled power and finesse - more than a few bodies in our row of seats applauded and felt their chests swell with British pride (and I’m an Irishman).

So why the four-star review and not five? There are times - especially in the first half hour - when it all seems incredibly hammy in places - and you fear that all those glowing reviews must have been carefully placed hype. And it's not really helped either by a Dario Marianelli score that often feels more 'Carry On' than 'Keep Calm'. The jokes are good but can too often grate or worse - feel forced (what a jolly old curmudgeon he was). And a very staged 'Meeting The Ordinary People On The London Underground' scene where an embattled Winston takes solace from the common folk’s stoicism and courage feels like a Richard Curtis outtake complete with the token coloured passenger amazingly able to quote McCauley's poem "Horatio At The Bridge" verbatim and right on cinematic cue (its famous words title this review). And when it comes to the all-important and rousing speeches - did Churchill actually borrow from an American Journalist (William Simms not mentioned) for his penultimate speech of never surrendering made in the House of Commons post Dunkirk. And where's his Irish friend and lifelong advisor Tipperaryman Brendan Bracken who was a key player behind the scenes and some say also contributed to the famous monologues. But despite this - through it all is Oldman delivering a mighty acting performance that brings mammoth-sized pathos to the man – filling him with doubts – tenderness – hurt – even childishness – behavior the Nazis used as actual propaganda during the Blitz to come. Flaws or not – such is his investment in the part – Oldman has you glued - hanging on his every word and gesture. It's a career best and when you take into account the dark power and honesty in his astonishing Directorial debut about working-class alcoholism "Nil By Mouth" (a difficult watch worth the difficulty) – long overdue credit.

Given John Lithgow's truly extraordinary and humane turn as the great man in Season 1 of "The Crown" (a performance he should have won awards for) - Oldman delivers even more Winston - layer after layer of Churchill the man and the endless enigma. Beautifully done boys - flawed in places for sure - but a triumph nonetheless.

And come Tinseltown's Big Day - if Gary Oldman doesn’t win the Oscar for Male Lead in "Darkest Hour" then the UK Government can toss aside leaving the EU for the moment and concentrate on a land-based invasion of America. Given their present President's appalling leadership – hell they might even welcome it...

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"Bored Civilians" by KEITH CROSS and PETER ROSS (April 2014 Esoteric Recordings 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"…I Planned To Get To You..."

(This review and 299 more like it available in the following e-Book from Amazon
No duplicates with Volume 1 or 3)

Housed in a dreadful sleeve (front and rear) that gives no indication of the mellow musical brilliance that's contained within - our songwriting heroes KEITH CROSS and PETER ROSS saw their hugely accomplished 1972 platter on Decca Records disappear without a trace on release. In fact as a long-time collector myself and rarities buyer at Reckless Records for nearly two decades - I can remember seeing this album in secondhand racks in the Eighties and Nineties when you couldn't give it away. Nowadays of course it's been rediscovered and clocks in a princely £300+ on the collector's market.

And re-listening to it on this gorgeous-sounding April 2014 CD remaster (Esoteric Recordings ECLEC 2441 - Barcode 5013929454149) - it's easy to hear why that amount of money is being exchanged whenever it comes up for sale. The cliché of a 'lost classic' immediately jumps to mind - and in my mind - reissue of the year too (52:34 minutes).

Some background first - Lead Guitarist Keith Cross had been in the hard-rocking British band BULLDOG BREED who made a lone album on Decca's Progressive Rock label imprint Deram Nova in January 1970 called "Made In England". Cross then left to form T2 who put out a similarly blistering hard-rock effort shortly after (July 1970) called "It'll All Work In Boomland" on Decca. So those expecting more of the same genre when Cross teamed up PETER ROSS of HOOKFOOT would have been in for a short sharp shock with their combo-credited effort "Bored Civilians". Musically it's more Matthews Southern Comfort meets Help Yourself circa their first Folky LP meets Elton John's "Madman Across The Water". There are elements of Nick Drake, Smith-Perkins-Smith, CSYN, Brinsley Schwarz and Caravan too coming out of these beautifully recorded tracks.

1. The Last Ocean Rider [Peter Ross song]

2. Bored Civilians [Keith Cross song]

3. Peace In The End [Trevor Lucas/Sandy Denny song - Fotheringay cover]

4. Story To A Friend [Keith Cross song]

5. Loving You Takes So Long [Peter Ross song] [Side 2]

6. Pastels [Keith Cross song]

7. The Dead Salute [Peter Ross song]

8. Bo Radley [Keith Cross song]

9. Fly Home [Keith Cross and Peter Ross song]

BONUS TRACKS:

10. Blind Willie Johnson - non-album B-side to "Can You Believe It" released September 1971 in the UK on Decca F 13224 and in the USA on London 45-20069

11. Prophets Guiders - non-album B-side to "Peace In The End" released May 1972 in the UK on Decca F 13224 and in the USA on London 45-20073

Released September 1972 on Decca SKL 5129 (Tracks 1 to 9) - the album was produced by one of Decca's top people at the time - PETER SAMES - and along with Engineer DAVE GRINSTEAD - they achieved truly gorgeous warmth on every track. That has been completely captured by PASCHAL BYRNE and his remaster from original tapes - this CD sounds just glorious.

KEITH CROSS and PETER ROSS share Guitars and Lead Vocals while the quality guests include NICK LOWE on Guitar (then with Brinsley Schwarz), DEE MURRAY of the Elton John Band and CHRIS STEWART of Spooky Tooth on Bass, JIMMY HASTINGS on Flute and Saxophone (Caravan, Soft Machine), PETER ARNESEN on Keyboards (later with If, Ian Hunter and The Hollies), STEVE CHAPMAN on Drums (Judas Jump, later with Poco), TONY CARR on Percussion and Pedal Steel Guitar legend B.J. COLE.

The album opens with the massively impressive "The Last Ocean Rider" where a soft melody, harmonizing vocals and BJ Cole's Pedal Steel go into a near seven-minute overdrive. The album's title track floats in like a Simon & Garfunkel song circa "Bookends" when you're then hit a minute-in by the gorgeous string-arrangements done by TONY SHARP (he also arranged and conducted on "Loving You Takes So Long" and "Fly Home"). It's followed by an inspired cover-version choice tailor-made to the Folky feel of the whole album - Fotheringay's "Peace In The End". The cops-hassling-the-band-at-customs "Story To A Friend" has fantastic mid-song arrangements where Elton John type piano chords mix with Jenny Mason and Nicholson's ethereal backing vocals and brill Flute playing from Jimmy Hastings. Side Two opens with the piano-drum beat sound of "Loving You Takes So Long" which aurally reminds me of another forgotten classic - the Side One brilliance of "Foreigner Suite" by Cat Stevens. The pretty "Pastels" follows with immaculate acoustic guitars swirling around your speakers like some David Crosby "If I Could Only Remember My Name" outtake. But best of all for me is the seven-minute album finisher "Fly Home" - it's magnificent in a grand way - a superb combination of highly produced acoustic guitars, languid melody and those beautifully complimentary vocals and strings. It sounds so David Crosby and Graham Nash - so sophisticated West Coast - and quite brilliant. Very, very nice indeed...lyrics from it title this review.

Slip-ups - Esoteric have included the superb B-sides of both rare singles listed above - but they haven't thrown in the uber-rare non-album A-side "Can You Believe It" from 1971 nor have they explained why. And the even harder-to-find six-track EP on Decca EPS 1 is pictured in the excellent booklet but it doesn't explain that each cut was a promo-only `edit' and could therefore have been added on as six extras too. Minor points but worth noting. "Prophets Guiders" is particularly lovely.

Like on the sleeve they went down different roads after the failure of the album and little seems to be known of their post life. But man what a legacy.

With Mellow Candle's "Swaddling Songs", their Help Yourself double CD retrospective "Reaffirmation" and this - Esoteric Recordings are rapidly carving their reissue name in my Irish heart.

Brilliant - and well done to all the good people involved...