Offbeat Blu-ray Review: Crimson Peak

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Distributor: Arrow Video

Release Date: October 22, 2019

Region: Region A & B

Length: 01:58:42

Video: 1080P (MPEG-4, AVC)

Main Audio:

7.1 English DTS X / 7.1 English DTS-HD Master Audio

2.0 English DTS X (Headphone Mix)

Alternate Audio:

English Dolby Digital Descriptive Audio

Subtitles: English SDH

Ratio: 1.85:1

Bitrate: 23.55 Mbps

Notes: This title was given a Blu-ray release from Universal shortly after the film’s theatrical engagement, and Arrow Video has already released this title as one of their “Limited Edition” packages.

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“I’m a big student of Hitchcock. I wrote a book on him when I was 23. I studied every film. I give master classes. I still can’t figure out the very essential things that make a Hitchcock film a Hitchcock film. I can tell you about them, but I cannot reproduce them or make them happen. It is like when you’re young and you read somebody like Ray Bradbury like I did, you think you can copy it like this (*snaps*). You can use certain adjectives—whatever you want—use all those beautiful metaphors, but they don’t come out right. They don’t work.” –Guillermo Del Toro (Buzzfeed, November 06, 2013)

To anyone that has been paying attention to Guillermo Del Toro’s career, this quote shouldn’t be terribly surprising. Del Toro’s work doesn’t immediately provoke comparisons to any of the films in Alfred Hitchcock’s vast filmography, but the master’s influence is discernible when one knows to look for it.

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One of the more obvious examples can be seen during a climactic moment in Mimic. The scene finds Peter (the film’s masculine hero) opening a gas line in an effort to use his lighter and start an explosion (a sacrificial gesture which would kill the giant bug-monsters), but the lighter just happens to fall out of his grasp. Del Toro then shows us the lighter from an angle that makes it quite clear that this lighter is out of reach. This was no doubt lifted from a scene in Alfred Hitchcock’s Strangers on a Train that found Bruno dropping Guy’s lighter into a storm drain. Del Toro builds on this by having the lighter fall through water, and this leads to a surprising payoff that we will not discuss (just in case some of our readers haven’t seen the film).

Of course, this is merely one sequence in a film that is otherwise less Hitchcockian in nature. Crimson Peak, on the other hand, is a film that seems to have been built from the ground up with Alfred Hitchcock’s cinema firmly in the director’s mind. The story begins during the 1880s as Edith Cushing falls in love with a handsome stranger named Thomas Sharpe. Sharpe soon whisks her away to Allerdale Hall (his dilapidated English mansion). Unfortunately, Edith’s happiness is threatened when she finds herself at odds with her husband’s sister, Lucille, who obviously resents her presence there. As Edith struggles to feel at home at Allerdale, she slowly uncovers a horrendous family secret and encounters supernatural forces that will help her uncover painful truths about the man that she has married.

Sheila O’Malley astutely observed that the film owes a debt to at least two of Alfred Hitchcock’s thrillers:

Crimson Peak is reminiscent of Hitchcock’s Notorious in more ways than one (although Rebecca is also a clear influence). In Notorious, Alicia Huberman (Ingrid Bergman) marries Alexander Sebastian (Claude Rains) as a cover for her attempt to infiltrate a Nazi cartel. Once in the house, she is dominated by Alexander’s mother (Leopoldine Konstantin), a monstrous Fraulein from hell. Both Crimson Peak and Notorious feature ongoing visual motifs of tea cups and keychains. There are shots in Crimson Peak that mirror Notorious, a close-up of the ubiquitous key-chain with the key desired lying on the top of the heap, or the camera following a teacup as it is carried across the room. Like Alicia Huberman in Notorious, Edith feels if she could just get a hold of that key, and find the right lock, she might understand the secrets buried in that house and her own destiny.” –Sheila O’Malley (RogerEbert.com, October 16, 2015)

Although O’Malley didn’t elaborate on the film’s similarities to Rebecca, they are certainly clear to anyone who has seen the film. A young bride marries and finds herself in a strange home that seems haunted by a mysterious past that she doesn’t know about and is tormented by a malicious woman who doesn’t seem to want her around. Of course, the ghosts are purely psychological in Rebecca. They are something quite different in Crimson Peak, and they aren’t at all happy.

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Lucille Sharpe is a fairly successful composite of Mrs. Danvers (Rebecca) and Madame Sebastian (Notorious). The one significant difference is her younger age.

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One of the most obvious takeaways from Alfred Hitchcock’s Notorious involves a set of keys that are in Lucille Sharpe’s possession. In both Notorious and Crimson Peak, a specific key is needed to unlock the secrets that our heroines desperately hope to discover, and in both films the return of this key ends up putting them in greater danger.

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The other major plot element borrowed from Notorious is the slow poisoning of the female protagonist.

Don’t be misled. Guillermo Del Toro allows these influences to stew together in his subconscious, and the result is a work that is uniquely his own.

“I take [Hitchcock’s] word as gospel, but I don’t think I ever tried to imitate anything he did. I try to use his words as advice, and his introspection and his wisdom as a guide.” –Guillermo Del Toro (The Star, May 03, 2012)

Even assignments like Blade II seem to bear Del Toro’s unique sensibilities. There is no need for him to imitate even the most brilliant of his influences because he trusts his own voice. His devotion to a film’s visual design may well be the most palpable sign that he is a student of Hitchcock’s work. Crimson Peak is a meticulously designed film that uses color and mise-en-scène for well thought-out reasons. Nothing is arbitrary:

“We’re going with a Mario Bava palette of colors. In America the colors are tobacco, gold and green. It’s lush and reflects the optimism in the turn of the century America when everything was blooming. And the other world (Britain) is all blues and grays with deep browns and black mildew. It’s very dark and bleak. We shot outside for America and so we had huge beams of sunlight coming through the windows. And for this house, it’s like we moved into a theatrical play: confined.” –Guillermo Del Toro (Mandatory, July 17, 2014)

He would later elaborate on this design:

“…We were incredibly careful that there wasn’t a single red in any dress or any set dressing except for Lucille [Jessica Chastain]. Lucille, the clay, and the ghosts so that it’s a single line of red running across the movie. We qualify the shapes so there are empty human shapes in the corridor, or shoulders and heads to almost implicate ghosts.” –Guillermo Del Toro (Flickering Myth, October14, 2015)

Of course, there are moments in Crimson Peak when one wonders if the film wouldn’t be more powerful in black and white. The production design and expressive costuming is incredibly meticulous (they imported period lace for some of the costumes), and it is impossible not to appreciate the work that went into them. However, the lurid Bava-style colors become so striking that they can take the viewer out of the world instead of pulling them into it. The result is a film that is tonally uneven, and it is impossible not to wonder how the film might have played had it been presented with monochrome cinematography.

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This is a photograph of Guillermo del Toro on the set of Crimson Peak.

The film’s Hitchcockian nature is also reflected in Del Toro’s directorial touches.

“We built the furniture in two sizes, so that when the character is weak, they would look smaller in a bigger piece of furniture. The same furniture [was made] smaller so the character looks stronger in another scene…” –Guillermo Del Toro (Los Angeles Times, July 23, 2015)

Hitchcock resorted to similar strategies during his reign as the “master of suspense,” and such tricks were an important part of his visual style. He was always much more interested in pictorializing a character’s emotional reality than he was depicting an environment’s physical reality. Unfortunately, Del Toro’s careful attention to detail didn’t result in success at the box office in this particular instance.

“If I’d done Crimson Peak for $25 million, the movie would have been a success because it made $75 million. But because I made it for $50 million, it wasn’t a success because it needed to do $150 million.” -Guillermo Del Toro

Crimson Peak was cursed with an inappropriate marketing campaign, and the film failed to connect with the adolescent horror fanatics who came expecting something reminiscent of a James Wan movie. Needless to say, it didn’t deliver the kind of chills that audiences were seeking. Still, it is a mistake to write the film off entirely. While few would list Crimson Peak amongst the director’s best efforts, the disappointing critical and box-office reception was unwarranted.

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The Presentation:

4 of 5 MacGuffins

Actually, this is probably a “4.5 MacGuffin” presentation. However, one anticipates comparison with Arrow’s previous “Limited Edition” package, and that package was incredibly robust. There was a hard bound book that featured essays and an interview with Guillermo del Toro, a dual-sided poster, and six double-sided art cards. All of this was contained within an attractively illustrated box with incredible artwork by Guy Davis.

The presentation of this standard edition is admittedly a notch below that remarkable presentation, but it is still an extremely attractive package. Arrow Video houses the Blu-ray disc in their usual sturdy Amaray case. The usual reversible sleeve offers a choice of the same attractive new artwork by Guy Davis that was featured on their Limited Edition and an altered version of one of the film’s original marketing posters.

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Unfortunately, the poster design utilized on the reverse isn’t the same incredible design that we remember seeing displayed so prominently in theaters upon the film’s original release. That design was vastly superior. Interestingly, Universal’s Blu-ray release of the film did utilize a cropped version of that design with altered title text that was placed above instead of below the image:

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Luckily, our disappointment regarding the reverse artwork doesn’t really matter since the Guy Davis design is such an incredible option. It’s the easy choice in our opinion. Since this is not Arrow’s original release of this title, their usual “collector’s booklet” isn’t included here. There is only a small card that promotes their upcoming release of Jim Jarmusch’s The Limits of Control.

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The animated menus utilize footage and music from the film and are reasonably attractive and easy to navigate. Those who own other Arrow Blu-rays will know exactly what to expect here.

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Picture Quality:

4.5 of 5 MacGuffins

It seems that Arrow’s Blu-ray release of Crimson Peak includes the same master as Universal’s original release of the film. However, Arrow’s release uses an entirely different encode. The result is a slightly superior image than one sees on the original Universal release. The cinematography looks terrific here as the transfer maintains an impressive level of fine detail. This is particularly relevant since the filmmakers went out of their way to make sure there was plenty of authentic period textures in the frame. The striking use of Bava-like color seems to represent Del Toro’s original intentions. Blacks are deep and velvety without unintentionally crushing any of the aforementioned detail that sometimes hides in the shadows. Darker shots sometimes have some minor noise, but it is never distracting to the viewer. It’s difficult to discern if this is a source related issue or not, but one suspects that it may very well be since there aren’t any other bothersome encode-related issues here. Better yet, Arrow hasn’t made any artificial adjustments to the image such as artificial sharpening and digital noise reduction. Meanwhile, whites are never allowed to bloom (at least not to any distracting degree). The digital source even manages to get across a certain amount of depth within the image. The stylized aesthetic faithfully comes across in this remarkable transfer. You can’t hope for much more than this.

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Sound Quality:

5 of 5 MacGuffins

The 7.1 DTS-HD Master Audio mix is really incredible, and one wonders how anyone could improve upon it. Guillermo Del Toro is just as meticulous about the sound design of his films as he is about the visuals. One particular aspect of the track that stands out is that the film’s environment seems to engulf the viewer. There’s real depth to the mix and the effect is immersive. It feels as if one is actually in Allerdale Hall, and it is an oppressive and unsettling feeling. Those looking for a dynamic sonic experience will be thrilled to hear of the immersive qualities of this mix. Dialogue is well prioritized and remains clear and intelligible throughout the duration. In fact, all of the sound elements are well prioritized within the mix. Panning effects are handled with striking precision here, and there are no complaints as to the track’s dynamic range. Fernando Velazquez’s score benefits from the mix as well and is especially lush.

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Special Features:

5 of 5 MacGuffins

Arrow wisely carries over the Universal supplemental material for their release, but they add a few new programs that add significantly to the package. Frankly, the supplemental package on Universal’s disc only seemed substantial. Most of the Universal featurettes are barely better than EPK promo fluff. Luckily, the new Arrow features offer a more instructive collection of programs for viewers to enjoy.

Feature Length Audio Commentary by Guillermo Del Toro

The obvious crown jewel of the original Universal disc was this engaging commentary by Guillermo Del Toro. His accent may be challenging for some to decipher, but it is well worth the trouble as he is an incredibly intelligent and articulate man. Better yet, he speaks about his film with a passionate affection. He states outright that he feels that Crimson Peak is one of his strongest efforts. Viewers may disagree with this assertion, but this track should help to increase their affection for the film. His recollections range from his the original inception and inspiration behind the film, technical aspects of the film’s production, aspects of the film that might be considered autobiographical, the film’s aesthetic elements, and a wide range of other pertinent topics. It was also interesting to discover that he didn’t approve of the film’s marketing campaign (for good reason). Listening to the track is not only worthwhile but essential listening for fans of the director’s work.

Deleted Scenes — (04:26)

Another essential Universal offering was an extremely small but worthwhile collection of deleted scenes. There were only five scenes included in that package, but it is nice to see that Arrow has carried them over to this release:

The Park — (01:00)
Thomas’ Presentation — (0:54)
Father Consoles Daughter — (0:45)
Thomas Sees a Ghost — (0:49)
Lucille at the Piano — (0:59)

It seems likely that these very short scenes were deleted from the final assembly somewhat late in the post production process, and one wonders if there were any other omissions made early on that weren’t included. In any case, it is interesting to have these here for examination.

The House is Alive: Constructing Crimson Peak — (50:01)

Arrow’s newly edited documentary offers a more comprehensive examination of the film than the Universal featurettes delivered, but they have built it from the same production footage and electronic press kit interviews that Universal used for their featurettes. One imagines that this limited them considerably, but they were able to construct a worthwhile “making of” examination of the movie that covers the films literary influences, aesthetic choices, and various challenges faced during the production.

Certain subjects are given more thorough dissection than others. For example, the costumes and set design are given a fairly comprehensive examination here. The “behind the scenes” production footage is especially nice to see, and fans will enjoy getting a proper look at the art department’s incredible model work. We see some of the same footage seen in Universal’s endless collection of “featurettes,” but there is a wealth of footage in this new documentary that wasn’t seen in any of those EPK promos. There’s also quite a bit of pre-production art that adds to the proceedings considerably.

The program may have benefitted from newly produced material, but this piece proves that standard Blu-ray features could be much better than they are if studios would only put forth a modicum of effort. A single comprehensive documentary examination of a film is more worthwhile than a collection of lightweight “featurettes” that offer little in the way of information. Quality is and always will be superior to quantity, and this is a quality look at the film’s production that adds an enormous amount of value to this disc.

Spanish Language Interview with Guillermo Del Toro — (08:36)

Arrow has offered up another worthwhile addition to Universal’s original supplements with this interesting (if much too brief) Spanish language interview with the director. Topics discussed include the fairy tale influences on the project, the film’s controlled use of vivid color, symbolism, and other interesting aspects of the production. He also mentions a few of the inspirations for the film (such as Rebecca and Gaslight). It’s a fairly compact eight minutes when one considers how much territory he is able to cover.

A Primer on Gothic Romance — (05:37)

Footage from Crimson Peak mingles with behind-the-scenes photos, production art, and interview snippets from the likes of Guillermo del Toro, Mia Wasikowska, Tom Hiddleston, Jessica Chastain, Charlie Hunnam, and Jim Beaver in this short featurette. Guillermo del Toro and his actors vaguely discuss the literary traditions of gothic romance and Gothic horror and how they relate to this particular film.

The Light and Dark of Crimson Peak — (07:54)

It’s nice to have a program that is devoted to the discussion of Guillermo del Toro’s use of color in the film, and we must admit that this particular featurette has a bit more information packed into its brief duration than one expects it to have. A comparison is made between the Buffalo, NY scenes and those that take place in England as each were designed to have a different aesthetic.

Hand Tailored Gothic — (08:59)

Guillermo del Toro and Kate Hawey (costume designer) discuss the meticulous work that went into the film’s period costumes as they were designed specifically to work in tandem with the production/set design. Quite a bit of detailed labor went into the wardrobe, so it is appropriate to have a featurette devoted to this aspect of the production.

A Living Thing — (12:11)

A Living Thing is one of several featurettes included on this disc to focus on the film’s most important set. This is probably as it should be, but one wonders if the material here could have been combined with the material used to construct the four featurettes that made up I Remember Crimson Peak to create a single definitive examination of this interesting set. Guillermo del Toro and Tom Sanders are both on hand to discuss the design and construction of the Allerdale Hall set. The up close look at the models created for the set is probably the highlight of this instructive program.

I Remember Crimson Peak / Allerdale Hall: Four Featurettes — (19:34)

The Gothic Corridor — (04:07)
The Scullery — (04:25)
The Red Clay Mines — (05:19)
The Limbo Fog Set — (05:43)

This collection of featurettes examine four of the various rooms that serve as part of the Allerdale Hall set. Guillermo del Toro, Mia Wasikowska, Jessica Chastain, and Tom Hiddleston are all on hand to discuss the production design and to offer their insight. None of these four short pieces could be described as “comprehensive,” but they are too good to be written off as fluff.

Beware of Crimson Peak — (07:52)

This is a rare example of an extremely short featurette working on its own terms. It doesn’t feel as if it would be better as part of a more comprehensive documentary since it is offered up as a tour of the set and not compiled from film footage and short interview snippets. Tom Hiddleston takes viewers through the Allerdale Hall set while offering them a closer look at the production design. Meanwhile, there is plenty of “behind the scenes” footage showing the cast and crew working in this environment. It becomes quite clear that time and energy has been spent on details that will go unnoticed by the majority of viewers, and this can only add to one’s appreciation of the film.

Crimson Phantoms — (07:03)

While Crimson Phantoms isn’t overflowing with insightful new revelations, it does offer a worthwhile glimpse behind the curtain. David Martí and Montse Ribé never delve too deeply into their ghost designs, but it is instructive to see some of the ghost footage being shot (with a combination of practical and CGI effects).

Kim Newman on Crimson Peak and the Tradition of Gothic Romance — (17:37)

Kim Newman discusses Crimson Peak and the traditions in Gothic romance that gave birth to the film. Mario Bava, The Bronte Sisters, Horace Walpole’s “The Castle of Otranto,” Roger Corman’s adaptations of Edgar Allen Poe, Hitchcock’s Rebecca, and quite a few other pertinent works are mentioned throughout the piece. However, one is especially pleased that this piece opens with a discussion of Guillermo del Toro’s work and how it fits into specific (if somewhat broadly diverse) genre traditions. It’s an instructive examination of the film that adds an enormous amount of value to an already terrific supplemental package.

Violence and Beauty in Guillermo Del Toro’s Gothic Fairy Tale Films — (23:37)

Kat Ellinger continues our examination of the film’s Gothic origins in this video essay that discusses Crimson Peak in the context of Guillermo Del Toro’s filmography as his films borrow from both European fairy tale traditions and gothic novels in relatively equal measure. Her essay illustrates the differences between these literary traditions by using his films to illustrate her point. One imagines that viewers who haven’t seen much of the director’s oeuvre will want to seek out some of his other films after seeing this one. She also examines a great many of the film’s influences. It’s a well-researched program that will add to one’s understanding and appreciation of both Crimson Peak and the director’s work in general. Bravo.

Marketing Gallery:

Theatrical Trailer — (02:28)
International Theatrical Trailer #2 — (02:36)
2 Television Spots — (01:05)

It is great to have these trailers and television spots included since Guillermo Del Toro discusses the inappropriate marketing campaign in his commentary track.

Still Gallery

This is a slideshow-style presentation of 35 production stills.

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Final Words:

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Arrow Video’s Blu-ray release of Crimson Peak is fantastic in every sense of the word.

Review by: Devon Powell

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Source Material:

Mark Kermode (BFI Interview, The Guardian, November 21, 2006)

Unknown (The Star, May 03, 2012)

Guillermo Del Toro (Guillermo Del Toro Reveals His 5 Biggest Tips For Making A Movie, Buzzfeed, November 06, 2013)

Brian Formo (Guillermo Del Toro Interview, Mandatory, July 17, 2014)

Meredith Woerner (Guillermo Del Toro: ‘Crimson Peak’ is The Most Carefully Designed Movie I’ve Done, Los Angeles Times, July 23, 2015)

Gary Collinson (Guillermo Del Toro Talks ‘Crimson Peak, Flickering Myth, October 14, 2015)

Sheila O’Malley (Crimson Peak, RogerEbert.com, October 16, 2015)

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Blu-ray Review: Rebecca – The Criterion Collection

Spine #135

Blu-ray Cover (No Sticker)

Distributor: Criterion Collection (USA)

Release Date: September 05, 2017

Region: Region A

Length: 02:10:40

Video: 1080P (MPEG-4, AVC)

Main Audio: English Mono Linear PCM Audio (48 kHz, 1152 kbps, 24-bit)

Subtitles: English SDH

Ratio: 1.33:1

Bitrate: 35.69 Mbps

Notes: This title is also available both individually and as part of The Premiere Collection boxed set (both with different cover art) in the DVD format and was given an incredible release in the same format by The Criterion Collection several years before that release.

The film was later given a lackluster Blu-ray release by MGM Home Entertainment both as part of a three-film set entitled, The Classic Collection and as an individual release.

Title

“Well, it’s not a Hitchcock picture; it’s a novelette, really. The story is old-fashioned. There was a whole school of feminine literature at the period, and though I’m not against it, the fact is the story is lacking in humor.” –Alfred Hitchcock (Hitchcock/Truffaut, 1966)

Most of the contemporary critics and scholars tend to agree that the film belongs more to Selznick than to the director. In his book of essays about Alfred Hitchcock’s filmography (The Art of Alfred Hitchcock) Donald Spoto writes:

“Hitchcock’s first American film won David O. Selznick the Oscar as producer of the best film of 1940. In fact, it’s more a Selznick film than it is Hitchcock. Depending on your mood, it’s either impossibly dated, woefully prolix as well as comically overstated every step of its long way—or it’s deliciously entertaining, the kind of gothic romantic hokum they don’t make anymore. Or both…” -Donald Spoto (The Art of Alfred Hitchcock, 1976)

We have trouble understanding how any movie made in 1939 and released in 1940 can be “impossibly dated,” but one must certainly admit the validity of Spoto’s assertion that the film could be perceived as “woefully prolix.” This would be the result of Selznick’s insistence that entire paragraphs of the novel’s dialogue should be included in the script—even if the same points might be made visually or with less ornate verbiage. Selznick’s fingerprints are all over the film to be certain, but it would be an incredible injustice and completely misleading to ignore the fact that Hitchcock’s influence is just as dominant and can be seen in every frame—and there are traces of the director’s humor on evidence (even if he would later claim otherwise).

As a matter of fact, Hitchcock had been interested in purchasing the rights to Daphne du Maurier’s source novel while he was still working in England but the cost of the property proved prohibitive. This and the fact that Rebecca contains elements that Hitchcock would return to in his later work should be evidence of the director’s sincere affection for the material. Rebecca might not be the version of the film that Hitchcock originally wanted to make, but the director was wrong when he claimed that it isn’t a Hitchcock picture. It is a Hitchcock film, but it is a Selznick production of a Hitchcock film. This subtle distinction is what really bothered the director.

“While, in many respects, Rebecca was very personal to Hitchcock—allowing him to explore more clearly than ever before his deepest thematic concerns—the film belongs as much to its producer as it does to its director. Hitchcock appears to have undertaken the film with certain misapprehensions: that he would have the full control he’d been accustomed to; that he could adapt the source novel as freely as he pleased; that he could insert touches of his typical British humor (his early draft had Maxim and his anonymous wife meeting on a channel steamer, with Maxim bringing on her seasickness by blowing smoke in her face!). Hitchcock was swiftly disillusioned. Selznick insisted on the strictest fidelity to du Maurier that censorship would permit, oversaw the entire production, and asserted his contractual right to final cut.” –Robin Wood (Rebecca: The Two Mrs. de Winters)

To be fair, the Monte Carlo sequence works much better than this would have, because the audience understands that Maxim de Winter has been away from Manderley for quite some time in an effort to forget his past. It is also much more mysterious. However, the pages of endless dialogue work much better in the novel, and the film is at its best when Hitchcock is allowed to tell the story in a visual manner. What’s more, Selznick’s generic cutting style wouldn’t have benefited the film. Luckily, Alfred Hitchcock knew a way around Selznick’s final cut and was one of the few directors capable of forcing aspects of his own personal vision upon the producer by cutting in the camera so that the footage could only be assembled in the manner that Hitchcock envisioned. Selznick wasn’t a fan of what he called the director’s “damned jigsaw cutting,” but this is exactly what he was paying for when he brought Hitchcock to America.

In retrospect, it might be said that much of what hasn’t dated in the film seems to belong more to Hitchcock than to Selznick. This may be an oversimplification, but Selznick’s insistence on fidelity created a more literary melodrama with more unnecessarily protracted dialogue than is typical of a director who prefers to tell his stories visually. If the film seems dated to contemporary audiences, this is undoubtedly one of the primary reasons. Another side effect of Selznick’s meddling is the sometimes overwrought and syrupy score provided by the talented Franz Waxman. Selznick obviously didn’t trust Hitchcock’s wonderful visuals to make their point and musical punctuation overwhelms what might have been poignant subtleties had the director been left to his own devices. The score is very good at conveying the film’s gothic and ghostly atmosphere, but there is more “Mickey Mousing” than is necessary, and there are cheesy (and unnecessary)musical punctuations every time a character reacts to something. The production values also seem to belong to Selznick, and Alfred Hitchcock has gone on record about his disappointment about the film’s production design. Rebecca has a gloss that is tonally different than even the glossiest of Hitchcock’s later films. Whether this is a good or a bad thing will depend on the viewer.

On final analysis, Rebecca is a brilliant Hitchcock/Selznick hybrid that rightfully earned eleven Academy Awards nominations (Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actress, Best Cinematography, Best Adapted Screenplay, Best Art Direction, Best Film Editing, Best ScoreBest Visual Effects) and won in the Best Picture and Best Cinematography categories. The film is required viewing and marks an extremely important benchmark in not only Hitchcock’s career but also his artistic evolution. The stormy production created by a thunderous crashing of two giant egos resulted in more than a great film. It resulted in the creative growth of an already brilliant director.

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The Presentation:

4.5 of 5 MacGuffins

Criterion has once again given cinephiles a beautiful Blu-ray package. The special 2-disc set looks like most of their standard single disc releases. Both discs are housed in their standard clear case with a cover sleeve featuring an attractive painting by Robert Hunt.

Inside the case, there is a collector’s booklet that features an essay by David Thomson entitled “Welcome to the Haunted House.” Thomson is the author of a long list of film-related books, including: Showman: The Life of David O. Selznick, The Moment of ‘Psycho,’ Rosebud: The Story of Orson Welles, Scorsese on Scorsese, A Biographical Dictionary of Film, The Whole Equation: A History of Hollywood, Moments That Made the Movies, and a ridiculous number of other titles. This reviewer found some of his scholarly insights somewhat questionable, and wonder why Criterion didn’t simply utilize the two essays that were included in their original DVD release years ago. These essays were written by Robin Wood and George E. Turner, and they were more informative than this new piece.

Luckily, Criterion more than makes up for this minor issue by including a section entitled “Hitchcock vs. Selznick.” This section is essentially a collection of four memos from the production of Rebecca (all of which were featured on the second disc of their DVD release several years ago) with a short introduction by David Thomson. One must admit that having these memos collected in a booklet is preferable to including them on one of the discs as it makes them much easier to read, and their inclusion here makes this booklet a significant addition to the overall package. Our only complaint is that more memos weren’t included. It would’ve been incredibly awesome if Criterion had included a larger book containing all of the memos that were included on their earlier release of Rebecca!

Menu

Menu 2

Both disc menus make use of production stills and Franz Waxman’s score, and they are up to Criterion’s usual high standards. Those who own other Criterion discs will know exactly what to expect.

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Picture Quality:

5 of 5 MacGuffins

There is every reason in the world to be excited about Criterion’s new 4K restoration transfer of Rebecca. As is their usual practice, they include information about their restoration in the collector’s booklet:

“This new digital transfer was created in 16-bit 4K resolution on a Lasergraphics Director Film scanner at Motion Picture Imaging in Burbank, California, from the 35mm nitrate original camera negative. Digital restoration was undertaken by the Motion Picture Imaging Group…” –Collector’s Booklet

The result is beyond stunning as there is an incredible improvement in quality when one compares this release with the earlier MGM Home Entertainment release. For one thing, the grain structure has been improved upon and is better resolved. There is a more film-like quality to the overall image in this release, as it exhibits a very natural contrast and better black levels (which are incredibly deep without crushing). Fine detail is also vastly improved, density is much better and indeed quite impressive, and stability is terrific. It also looks absolutely incredible in motion. The image has been cleaned of any distracting blemishes (such as age chemical imperfections, stains, scratches, cuts, dirt, and other damage). There also aren’t any signs of overzealous manipulation or improper compression.

The only negative aspect of the new transfer is that there seems to be marginally less information on the sides of the frame when compared to the other releases, but there is more information at the top of the frame. You might say that everything evens out rather nicely in this respect. In any case, this seems to be the only aspect of this new release that nitpickers will have to complain about. Everything else is beyond reproach, and the reasonably high bitrate makes the most of their beautiful work.

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Sound Quality:

5 of 5 MacGuffins

The film’s soundtrack was also given a new restoration by Criterion.

“…The soundtrack was re-mastered from the original soundtrack negative at Chace by Deluxe in Burbank and restored by Disney Digital Studio Services. Additional restoration was performed by the Criterion Collection using Pro Tools HD and iZotope RX…” –Collector’s Booklet

The resulting uncompressed monaural (Linear PCM) audio track is as good as anyone has a right to expect, although it isn’t quite the upgrade in quality that the image received. As a matter of fact, it is relatively identical to the MGM track in many respects. The differences between the two tracks will be directly related to Criterion’s efforts to clean the track of imperfections. While the mono mix cannot be described as dynamic, it is certainly faithful to the original as it exhibits clear and well-prioritized dialogue, a good representation of Franz Waxman’s score, and the effects are strong and undistorted. The flat nature of this extremely old track may disappoint modern ears, but purists are certain to appreciate the final result.

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Special Features:

5 of 5 MacGuffins

When Criterion originally released Rebecca as a two-disc set in the DVD format, it was impossible to imagine that anyone would ever include a superior supplemental package for the film. However, this release contains quite a bit more material than that release, and not a single one of these added features could possibly be described as “filler.” Everything included here should be an incredibly fulfilling experience for anyone who admires Alfred Hitchcock, David O. Selznick, Daphne du Maurier, or classic cinema in general.

There are over 3 hours and 56 minutes of video-based supplemental entertainment on the disc—the accumulation of which would have easily earned the disc a five-star rating all on its own. However, they have also included over 3 hours and 30 minutes of audio based supplements (and this isn’t even counting the commentary track)!

Disc One

Feature Length Audio Commentary by Leonard J. Leff

Leonard J. Leff is the author of Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. The book is a well-researched and incredibly comprehensive account of Hitchcock’s working relationship with David O. Selznick and the films that Alfred Hitchcock made during that period. Frankly, it is one of a handful of books on the director that is absolutely essential.  Leff brings some of this knowledge to this track, but it leans more towards scholarly analysis. We have no doubt that this will likely disappoint a lot of fans. However, Leff’s archival Criterion track is a much better commentary than the one provided by the late Richard Schickel for the MGM release. Some might be put off by the dry and decidedly academic tone, but those who give it a fair chance will find it well worth their time.

Isolated Music and Effects Track

This feature allows audiences to experience the film with only the music and sound effects. It is presented in the Linear PCM format.

The Making of Rebecca – (28:02)

Film historians discuss the uneasy relationship between David O. Selznick and Alfred Hitchcock during the making of the film. It offers more generalized “behind the scenes” information than many of the more comprehensive documentaries of its kind, but there is enough information to make the viewing experience rich and rewarding. It was nice to learn that Criterion decided to port this over from the earlier MGM DVD and Blu-ray releases as this set would have suffered considerably without it.

Conversation between Molly Haskell and Patricia White – (24:39)

Molly Haskell and Patricia White discuss the film’s enduring appeal as well as some of the thematic concerns that contribute to that its ongoing popularity. The conversation is decidedly casual but always intelligent. Unfortunately, it doesn’t delve terribly deep into the themes discussed with specific examples that illustrate their observations. It is certainly a worthwhile addition to the disc’s supplemental package, but one wishes that the conversation delved a bit deeper.

Theatrical Re-release Trailer – (02:23)

One wishes that the film’s original release trailer could have been included here, but is always nice to see vintage trailers included on a disc and this is no exception. It exploits the success of the film’s original release as well as its well-documented awards success.

Disc Two

Daphne du Maurier: In the Footsteps of Rebecca – (55:03)

Elisabeth Aubert Schlumberger’s hour-long documentary about the life of Daphne du Maurier was originally produced for French television and is a multi-lingual production presented in both French and English. Much of the information divulged is revealed through the French narration, but there are a number of English language interviews and some archival footage of the author. One of the more interesting elements featured within the film is the BBC footage of the author taken later in her life.

Those disappointed about the omission of Criterion’s essay about du Maurier can rest assured that the inclusion of this program more than makes up for its absence, as it is much more in-depth and engaging.

Alfred Hitchcock on NBC’s Tomorrow – (44:03)

In 1975, NBC’s Tomorrow devoted an entire episode to the “Master of Suspense” and it is included here in all of its fabulous glory. The director is certainly feeling his age here but he is still an extremely entertaining raconteur. The Tom Snyder interview covers a wide variety of topics, including cockney rhyming slang, his film work, entertaining stories, his then-upcoming film (Family Plot), and a wide variety of other engaging topics. Some of this will be a rehash for a lot of fans, but there is quite a bit of unique material as well.

Joan Fontaine on NBC’s Tomorrow – (17:11)

Almost as great as the amazing interview with Alfred Hitchcock is this incredibly charming interview with Joan Fontaine from a 1980 episode of Tomorrow (again hosted by Tom Snyder). The actress has a dignified grace and an undeniable charm that takes the viewer by surprise. She candidly discusses her rivalry with Olivia de Havilland as well as the production of Rebecca, her then current projects, politics, old Hollywood, and aging. Every word of it is a pleasure to witness, and it is an incredible addition to the package.

Casting Gallery with Notes by Alfred Hitchcock and David O. Selznick

It is nice to see that Criterion has included memorandum between Alfred Hitchcock about casting the unknown protagonist eventually played by Joan Fontaine. These memos discuss various actresses considered for the part in no uncertain terms, and it all makes for instructive reading. The text is illustrated with publicity photos of the various talent discussed. All of this provides strong contextual information for the screen tests that have also been included on the disc.

Screen Tests:

Unlike the previous MGM Blu-ray, this new Criterion release has ported over their entire collection of tests from their earlier DVD release (which is now out of print). These are priceless production artifacts from one of Alfred Hitchcock’s most important film, and it is instructive to see what he and Selznick were up against. In total, there are over 41 minutes of screen test footage from some of Hollywood’s biggest stars of the era!

Here is a list of the various tests included on the disc and their respective durations:

Joan Fontaine – (07:57)

Vivien Leigh (with Laurence Olivier) – (05:03)

Vivien Leigh (with Alan Marshall) – (04:02)

Anne Baxter – (11:48)

Margaret Sullavan – (07:52)

Loretta Young – (04:45)

Hair and Makeup Tests – (03:14)

These hair and makeup tests are presented in a kind of split screen and features Anne Baxter, Margaret Sullavan, and Vivien Leigh in various wigs and make-up designs. There is a short contextual introductory commentary by Leonard Leff that plays over the beginning of this silent footage. It is evident from these tests just how late in the process final casting decisions were made It is an incredible treat to glimpse this sort of test footage from such an old classic!

Costume Tests – (02:57)

Joan Fontaine’s costume tests are equally interesting as they showcase Joan Fontaine in various costumes—some of which weren’t included in the final film. If the actress looks less than enthusiastic, this is due to the fact that she was under an enormous physical and emotional strain during the weeks leading to the production. Needless to say, this raw footage is of enormous value to Hitchcock fans and devotees of classic cinema.

Interview with Craig Barron about Rebecca’s Visual Effects – (17:28)

This Criterion interview with Craig Barron is essential for anyone interested in special effects. The viewer is taken through a number of effects included in the film as they are explained in a very general way. Some will already know much of this information, but others will find it revelatory. It should certainly add to one’s appreciation of the film.

1986 Phone Interview with Joan Fontaine – (20:15)

Joan Fontaine speaks affectionately about Hitchcock and discusses working with the director during the set of Rebecca. She is articulate and incredibly charming throughout the entire length of the interview, and she leaves us wanting to hear more about her days in Hollywood. Fans should be very pleased to have this carried over from Criterion’s earlier disc because it is a very instructive twenty minutes.

1986 Phone Interview with Dame Judith Anderson – (10:42)

Judith Anderson’s interview is equally informative and articulate, and it is really a treat to listen to the actress as she talks about her experiences shooting the film, and the differences between acting on the stage and the screen. I dare say that interviews with Judith Anderson are rather rare, so having this included here is a wonderful treat.

Campbell Playhouse Radio Broadcast (1938) – (59:54)

Perhaps the most interesting of the three radio adaptations of Rebecca—although each version is interesting for very different reasons—is this first episode of Campbell Playhouse, the radio program produced by Orson Welles. The program followed closely behind the infamous War of the Worlds broadcast and featured Welles in the role of Maxim de Winter, Margaret Sullivan as the second Mrs. De Winter, Mildred Natwick as Mrs. Danvers, Agnes Moorehead as Mrs. Van Hopper, and an assortment of other “Mercury Players.” It also features a music score by Bernard Herrmann (who would go on to score a number of Alfred Hitchcock’s most beloved films).

Those who notice the identical dialogue should be reminded that this isn’t an indication that the film was directly influenced by this radio adaptation because both productions drew directly from Daphne du Maurier’s classic novel. One element of the program that should be of special interest to both fans of the film and the novel is the short television conversation with this esteemed author. It seems scripted and isn’t particularly informative—but what it lacks in information, it makes up for in cheekiness and novelty. It is probably the highlight of the entire broadcast.

Lux Radio Theatre Broadcast (1941) – (59:00)

Following the success of the Selznick/Hitchcock film version of Rebecca was this Lux Radio Theatre adaptation of the film starring Ronald Colman as Maxim de Winter, Ida Lupino as the second Mrs. de Winter, and Judith Anderson as Mrs. Danvers. Interestingly, Ronald Coleman was considered for the role of Maxim in the film version, but the actor chose not to appear in that landmark production.

The program aired on February 03, 1941 during Rebecca’s Academy Awards campaign, of which this particular broadcast was very much a part. (The Oscars were held on the 27th of that same month.) Speaking of awards, Cecil B. DeMille presents David O. Selznick with an award from Fame magazine for his work as a producer at the end of the program.

Lux Radio Theatre Broadcast (1950) – (01:00:35)

In light of the fact that both Laurence Olivier and Vivian Leigh had lobbied quite aggressively for Leigh to win the role of “I” in Hitchcock’s film version, this radio program (which was produced an entire decade later) offers listeners the opportunity to experience the ex-Scarlet in this very different role. It is a rather instructive experience, but most will be quite happy that the part was given to Joan Fontaine after hearing Leigh in this radio version—that is if seeing the screen tests didn’t already convince you. In addition to Olivier and Leigh, Betty Blythe can be heard in the role of Mrs. Danvers.

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WHAT WASN’T INCLUDED?

With such a mind-boggling collection of wonderful extras, it seems almost ungrateful to complain about the few features that haven’t been ported over from previous releases of the film, but one imagines that most people who are considering an upgrade will be wondering about this particular matter.

There are quite a few text-based features from the original Criterion release that didn’t make its way to this new package—including an essay on Daphne du Maurier, the final results of a test screening questionnaire, an article about differences from the novel, and some of the production memorandum. However, most of the memos can be found here in some form. For example, that early release contained a gallery entitled “We Intend to Make ‘Rebecca,’” that featured several pre-production memos. These have all been included as part of the collector’s booklet. The memo’s found in the section of that disc entitled “The Search for ‘I’’’ have been included on this disc to contextualize the disc’s collection of screen tests. Frankly, these omissions aren’t particularly troubling. The same information is covered elsewhere on the disc. For example, the information found in the essay about Daphne du Maurier is more than covered in the included documentary about the author.

There is also a huge gallery of photos included on that release that wasn’t included here, but this hardly seems worth mentioning. The photos are certainly fascinating, but one grows weary clicking through such a gallery—and the same can be said about the aforementioned text screens.

More unfortunate is the exclusion of the 1940 Annual Academy Awards Ceremony Footage (01:37). The footage was silent but a commentary by Leonard Leff was included for this feature. It is strange that Criterion didn’t carry over this short clip.

Even more troubling is the exclusion of the excerpt from Hitchcock’s Interview with Francois Truffaut (Criterion – 07:54) and (MGM – 09:15), which was included in some form on both the earlier Criterion DVD and the MGM Blu-ray release. Considering the fact that their other Hitchcock Blu-rays have included this feature, it is extremely strange to discover that Criterion doesn’t include it here. The excerpt from Hitchcock’s Interview with Peter Bogdanovich (04:20) is also not carried over to this release but was included on MGM’s Blu-ray edition.

It is easier to understand the exclusion of a short featurette from the MGM Blu-ray entitled The Gothic World of Daphne du Maurier (19:02). After all, the documentary that is included in this package (Daphne du Maurier: In the Footsteps of ‘Rebecca’) covers the same territory and in more depth. However, it would’ve been nice to have it included here as it is a charming primer and could’ve made a nice companion to the longer documentary.

One doesn’t miss MGM’s Commentary with Richard Schickel, but it is another curious omission. To be perfectly honest, Schickel’s commentary was incredibly sparse. He seemed bored as he mumbled his way through the track. He didn’t say very much and what he said usually wasn’t rich with information. It’s difficult to enjoy listening to an apathetic commentator. Perhaps Criterion understood this and didn’t want their disc marred by such a track.

Everything else is here and most will agree that this is the edition to own.

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Final Words:

The Criterion Collection’s release of Rebecca covers the film’s production in such a comprehensive manner that it altered our approach to this article. We usually include a rather detailed production history for the Hitchcock films that we review. However, in this particular instance, such an approach could potentially rob certain viewers of the richly rewarding experience provided by this outstanding supplemental package. Both this and the incredible image and sound transfers make this Blu-ray package an easy recommendation. It is absolutely essential.

Review by: Devon Powell