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Douglas Pratt

The Ultimate DVD Geek By Douglas PrattPratt@moviecitynews.com

DVD Geek: The Complete Metropolis

Viewers can finally appreciate the beauty and the fury of Metropolis as it was meant to be experienced and enjoyed. The footage is fairly easy to spot, because the traditional footage is immaculately presented in full screen format, solidified by the lovely BD presentation with smooth, sharp contrasts and barely a scratch, while the restored footage is still quite battered and is slightly windowboxed, though perfectly viewable. It’s not ideal, but it’s worth having, without hesitation.

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DVD Geek: The Last Of The Mohicans, The Director’s Definitive Cut

Mann exhibits a dazzling command of the knowledge he gained while preparing the film and shares many historical insights, from esoteric trivia to far-reaching explanations of the political conflicts both among the Europeans and the indigenous Americans. And his sense of perspective is always exceptional. “The past is a lot closer than we think.”

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The Ultimate DVD Geek

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray