Edición en USA el 27 de enero de 2015
¿La carátula de la edición alemana es correcta? La imagen no se suena para nada del Enrique V de Branagh.
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
A mí tampoco me suena esa carátula. La peli sí me gusta mucho. A ver qué tal la edición.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
DVDBeaver: "Henry V looks solid on Blu-ray from Shout! Factory - it is filled with gritty texture and grain. The image quality supports the realistic style. It works well with the excellent art direction and is juxtaposed by the modern narration sequences. This is single-layered with a smallish bitrate for the 2 1/4 hour film. Certain colors are bolder and detail rises above SD-capability. Contrast is adept but with the cinematography style used there is not an abundance of depth. There are no flaws - the video is clean and produces, what appears to be, an authentic visual presentation."
http://www.dvdbeaver.com/film5/blu-r..._v_blu-ray.htm
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
El disco alemán es el más recomendable, por tener 50GB, y por tanto gozar de un mayor bitrate que permite una mejor muestra de la textura del grano cinematográfico. Aún así, en ninguna edición la imagen esta restaurada, y deja que desear.
A ver si alguna editora premium (¿Criterion?) coge los Shakespeares de Branagh, acude a los negativos originales y encarga un minucioso (y costoso) proceso de restauración. Especialmente Enrique V, Mucho Ruido y Pocas Nueces y sobretodo ese crimen contra la humanidad que es Hamlet -que debería ser una de las cumbres del formato teniendo en cuenta que fue rodada en 70mm y en cambio la destrozaron con aplicación de DNR excesivo en su actual edición en Blu-Ray a lo Predator- tienen inmenso margen de mejora.
Qué, cómo dice Robert Harris (restaurador insigne) estamos hablando de obras de gran importancia histórico-cultural. Tengo la sensación de que Branagh, en su labor de divulgador y adaptador del Bardo, no ha sido lo suficientemente reconocido. Estamos hablando de un señor que, de 14 cintas cómo director que lleva, cinco son adaptaciones del viejo William, excelentes, refrescantes y diversas todas ellas.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
1989-2019.
¡Es el 30º Aniversario!. Que Criterion se curre una restauración de las suyas, Branagh haga un audiocomentario, la llenen de extras, y luego A Contracorriente nos la traiga a España.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Branagh/Doyle, leyendo tu mensaje, te imagino recitándolo con este fondo musical:
El debut de Doyle en pantalla grande diría que fue de los mejores de la historia (¿junto con el de Herrmann?)
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Robert Harris:
Kenneth Branagh's 1989 version of Shakespeare's King Henry the Fifth has seen better days.
Thanks to MGM, this Shout Factory release is stunningly okay, if that.
It doesn't take a high level archivist to understand that the first image on screen, against a black background, should not be cut-through scratches the the film element used for transfer. I'd guess a low-con print, but someone may have actually damaged an IP.
Other scratches, dirt, detritus come and go, making one feel that they are viewing the film in 16mm in a high school English class.
Grain is uncertain, but not as it should be. Shadow detail is eh...
Color okay.
Not happy with this one. It appears that if MGM had their way, the good bard, whose work has been around for more than a century, would not stand the test of time.
As to the film, and others of its ilk, the fact that an HD master may exist, does not mean that people should see it.
To clarify, This is not a Shout Factory problem, nor is it anything they can fix. One must return to original elements.
Y:
Branagh's Shakespeare films aren't getting any respect on BD. His Hamlet (shot on 65mm, no less) should have looked stunning on the format. Instead, it got Pattonized.
Vaya tela.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
El disco alemán, aún partiendo del mismo master (supuestamente) tiene sustancialmente mejor calidad de imagen que la edición británica de Shout Factory. Pero bastante bastante mejor. Mayor detalle fino, mejor representación del grano, estabilidad (no temblequea en ocasiones como le pasa al disco UK), y ligeramente mejor contraste y colorimetría. Ignorad la carátula, se trata efectivamente de la película de Branagh. Está ahora mismo a 9 euros en Amazon.
El problema es que carece de subtítulos de ningún tipo, o yo no he sabido encontrarlos.
En fin...
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.