The Nude Vampire – Indicator Series (4k UHD)

Theatrical Release Date: France, 1970
Director: Jean Rollin
Writers: Jean Rollin, Serge Moati
Cast: Caroline Cartier, Olivier Rollin, Maurice Lemaître, Bernard Musson, Jean Aron, Ursule Pauly, Catherine Castel, Marie-Pierre Castel, Michel Delahaye, Pascal Fardoulis, Paul Bisciglia

Release Date: April 22nd, 2024 (UK), April 23rd, 2024 (USA)
Approximate Running Time: 84 Minutes 51 Seconds (Both Versions)
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Both Versions)
Rating: 18 (UK), NR (USA)
Sound: DTS-HD Mono French (French Language Version), DTS-HD Mono English (English Language Version)
Subtitles: English (French Language Version), English SDH (English Language Version)
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"When Pierre (Olivier Martin), the son of a wealthy industrialist, witnesses a beautiful woman (Caroline Cartier) being pursued and captured by men in bizarre masks, he decides to investigate, uncovering a sinister vampire cult..." - synopsis provided by the distributor

Video: 5/5 (Both Versions)

Here’s the information provided about the transfer, “The Nude Vampire  was scanned, restored and color corrected in 4k HDR at Renasci Films, London, using original 35mm negative film materials. A combination of MTI and Nucoda DVO image-processing tools were used to remove the many thousands of instances of dirt, eliminate scratches and other imperfections, as well as repair damaged frames. No grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way.”

The Nude Vampire comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.8 GB

Feature: 54 GB

This release uses seamless branching for the two versions. The source used for this transfer looks exceptional. Image clarity, depth, contrast, black levels, and compression are solid. Flesh tones look healthy, colors are nicely saturated and at times vivid, and grain remains intact; the image always looks organic.

Audio: 4.5/5 (DTS-HD Mono French, DTS-HD Mono English)

The French language version comes with one audio option, a DTS-HD mono mix in French with removable English subtitles.

The English-language version comes with one audio option, a DTS-HD mono mix in English with removable English SDH.

Both audio tracks are in great shape. Dialog always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include image galleries: original promotional and publicity material (112 images), behind the scenes (57 images) and additional photographs (41 images), French language theatrical trailer (3 minutes 42 seconds, Dolby Digital mono French with removable English subtitles), English language theatrical trailer (3 minutes 42 seconds, Dolby Digital mono English, no subtitles), an appreciation by author and film historian Virginie Sélavy (10 minutes 2 seconds, Dolby Digital stereo English with removable English subtitles for French film clips), an interview with archivist Lucas Balbo titled An Anarchist Vampire in Paris (5 minutes 26 seconds, Dolby Digital stereo English, no subtitles), extracts from selected interviews with Jean Rollin conducted by Gouyette between 1998 and 2003 titled Fragment d’un dialogue (19 minutes 23 seconds, Dolby Digital stereo English with removable English subtitles for French film clips), an updated documentary on the making of The Nude Vampire by Rollin’s personal assistant, Daniel Gouyette, including interviews with key collaborators Natalie Perrey, Jean-Noël Delamarre, and Jean-Pierre Bouyxou titled Le Passage (8 minutes 54 seconds, Dolby Digital stereo French with removable English subtitles), an archival extra titled Jean Rollin Introduces The Nude Vampire (5 minutes 26 seconds, Dolby Digital stereo English with removable English subtitles for French film clips), an audio commentary with film historians Kevin Lyons and Jonathan Rigby, and an 80-page booklet with cast & crew information, an essay titled Private Party written by David Jenkins, an archival introduction by director Jean Rollin, an archival interview with Jean Rollin by Alain Schlockoff, an archival interview with Jean Rollin titled Clocks, Seagulls, Romeo and Juliet: Surrealism Rollin-Style by Andy Black, an essay titled Vote Maurice Lemaitre! written by Jeff Billington, an archival review titled Critical Response written by Pierre Baudry, and information about the restoration.

Summary:

Directed by Jean Rollin, a filmmaker whose career spanned five decades. His films are known for their fantasy and erotic elements. Notable films he directed are The Iron Rose, Lips of Blood, and The Night of the Hunted.

The narrative revolves around a young man who becomes infatuated with a mysterious, beautiful woman. Who is this woman, and why are people wearing animal masks for heads watching her every move?

The English language version starts with the opening credits, while the French language version has one scene before the credits. In the English-language version, that same scene precedes the opening credits.

Jean Rollin once again makes a film about a female vampire; this time around, he shoots for the first time in color. Visually, Jean Rollin’s use of color is striking, greatly enhancing his atmospheric visuals. Though he effortlessly makes the transition from black and white to color, the way he frames his compositions remains the same.

The word that best describes the cinema of Jean Rollin is minimalism. His films sparsely use dialog, and character development is nonexistent, yet none of this matters in the grand scheme of things. And though there is a lack of words in his cinema, it is almost like you are watching a silent film. He is able to convey so much through his visuals.

The performances do a good job within the limitations of the story that unfolds. And though no performance stands out more than any other, there is a weak link: Caroline Cartier in the role of the mysterious woman with a rare blood disease. Though she has an alluring quality that is right for the character she is portraying, she lacks the charisma most of Jean Rollin’s leading ladies had.

There are many bizarre things that occur in The Nude Vampire, and one of the more surreal elements is Jean Rollin’s use of twins, something he would return to throughout his career. Twin sisters Catherine Castel and Marie-Pierre Castel make their first appearance in a Jean Rollin film. Though there is ambiguity to their characters, they have a sinister quality at the same time.

The Nude Vampire is a hypnotic tale about vampirism and morality that straddles the line between science fiction and horror. And though there are a lot of things in The Nude Vampire that foreshadow where Jean Rollin was going as a filmmaker, in some areas he is more restrained than in his later films, notably when it comes to nudity. In terms of growth, The Nuder Vampire is a massive leap forward from Jean Rollin’s The Rape of the Vampire. Ultimately, The Nude Vampire is a solid early effort from director Jean Rollin, with its many memorable images and fascinating take on immortality.

The Nude Vampire makes its way to 4K UHD via a definitive release from Powerhouse Films, highly recommended.

Note: This release is a limited edition of 10,000 numbered units (6,000 4K UHDs and 4,000 Blu-rays) for the UK and US.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

Written by Michael Den Boer

The Demoniacs – Indicator Series (4k UHD)

Theatrical Release Date: France/Belgium, 1974
Director: Jean Rollin
Writer: Jean Rollin
Cast: Joëlle Coeur, John Rico, Willy Braque, Paul Bisciglia, Lieva Lone, Patricia Hermenier, Mireille Dargent, Monica Swinn

Release Date: April 22nd, 2024 (UK), April 23rd, 2024 (USA)
Approximate Running Times: 100 Minutes 5 Seconds (Original Theatrical Version), 108 Minutes 32 Seconds (Export Version), 85 Minutes 45 Seconds (Curse of the Living Dead - Alternative English-Language Cut)
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (All Versions)
Rating: 18 (UK), NR (USA)
Sound: DTS-HD Mono French (Original Theatrical Version, Export Version), LPCM Mono English (Curse of the Living Dead - Alternative English-Language Cut)
Subtitles: English (Original Theatrical Version, Export Version), English SDH (Curse of the Living Dead - Alternative English-Language Cut)
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"A gang of ruthless pirates, known as ‘the wreckers’, rape two survivors of a shipwreck. The women, now mute, are guided by a mysterious clown to a ruined castle, where they receive magical powers with which to exact their revenge on the gang." - synopsis provided by the distributor

Video: 5/5 (Original Theatrical Version, Export Version, Curse of the Living Dead - Alternative English-Language Cut)

Here’s the information provided about the transfer, “The Demoniacs was scanned, restored and color corrected in 4k HDR at Film Finity, London, using original 35mm negative film materials. Phoenix image-processing tools were used to remove the many thousands of instances of dirt, eliminate scratches and other imperfections, as well as repair damaged frames. No grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way.”

The Demoniacs comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.2 GB

Feature: 50.9 GB (Original Theatrical Version), 54.1 GB (Export Version), 31.1 GB (Curse of the Living Dead - Alternative English-Language Cut)

This release uses seamless branching for the original theatrical version and the export version. The source used for this transfer looks exceptional. Image clarity, depth, contrast, black levels, and compression are solid. Flesh tones look healthy, colors are nicely saturated and at times vivid, and grain remains intact; the image always looks organic. 

Audio: 4.5/5 (DTS-HD Mono French - Original Theatrical Version, DTS-HD Mono French - Export Version, LPCM Mono English - Curse of the Living Dead - Alternative English-Language Cut)

The original theatrical version comes with one audio option, a DTS-HD mono mix in French with removable English subtitles. 

The export version comes with one audio option, a DTS-HD mono mix in French with removable English subtitles.

The alternative English-language cut comes with one audio option, a LPCM mono mix in English with removable English SDH.

All audio tracks are in great shape. Dialog always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an image gallery (91 images - stills/posters/home video art), a theatrical trailer (3 minutes 4 seconds, Dolby Digital mono, text in French with removable English subtitles), outtake footage (2 minutes 7 seconds, Dolby Digital mono), an appreciation by author and musician Stephen Thrower titled Vengeance and Purity (41 minutes 48 seconds, Dolby Digital stereo English with removable English subtitles for French film clips), an interview with actor Paul Bisciglia titled One Perfect Shot (8 minutes 39 seconds, Dolby Digital stereo French with removable English subtitles), an interview with actor Willy Braque titled The Iron Eagle (10 minutes 6 seconds, Dolby Digital stereo French with removable English subtitles), an interview with Jean Rollin collaborator Jean-Pierre Bouyxou titled One of the Demoniacs (20 minutes 42 seconds, Dolby Digital stereo French with removable English subtitles), an archival extra titled Jean Rollin Introduces The Demoniacs (3 minutes 7 seconds, Dolby Digital stereo English, no subtitles), scene select audio commentary with Jean Rollin (50 minutes 2 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film expert Tim Lucas for the export version, and an 80-page booklet with cast & crew information, an essay titled Rape, Revenge and The Demoniacs written by Alexandra Heller-Nicholas, an archival extra titled The Making of The Demoniacs written by Jean Rollin,  an archival interview with Jean Rollin titled Lascivious Vampires, Deep Melancholy by Mike Lebbing,  archival interview with actor Monica Swinn titled Getting Naked by Jérôme Fandor, and information about the restoration. 

Summary:

Directed by Jean Rollin, a filmmaker whose career spanned five decades. His films are known for their fantasy and erotic elements. Notable films he directed are The Iron Rose, Lips of Blood, and The Night of the Hunted.

The narrative revolves around two young women who come back from the dead and haunt the four thieves who raped and murdered them.

Jean Rollin was a filmmaker known for his abstract and atmospheric horror films laced with erotica. And what his films lack when it comes to spoken words, they more than make up for with their atmospheric visuals, which reinforce the saying that a picture is worth a thousand words. That said, The Demoniacs' minimalism might be off-putting to someone unfamiliar with the cinema of Jean Rollin.

The Demoniacs opens with an inventive opening pro-log that introduces the main players before launching into the credits. Then there is a lengthy scene where the four thieves rape and murder two girls. This scene, at nearly fourteen minutes in length, perfectly sets the stage for what follows. Later on, the two girls come across an abandoned place that houses a demonic entity that everyone in town is afraid of. And when the two girls free him, he gives them the powers they need to exact revenge against the four thieves.

When it comes to the performances, the entire cast is fantastic, especially Joëlle Coeur, who portrays the only female in a group of four murderous thieves. She delivers a possessed performance in which she lets go of any inhibitions. And nowhere is this clearer than a moment in the finale where her character masterbates on a pile of seaweed. This was her third and final time working with Jean Rollin; the other films are Schoolgirl Hitchhikers and Bacchanales sexuelles.

Also, Lieva Lone and Patricia Hermenier’s portrayals of ghostly apparitions are memorable. Though their characters do not speak, that is not to say that their performances are not impactful. An interesting sidebar about one cast member, Mireille Dargent, who portrays a clown; she also portrayed a clown in Jean Rollin’s The Iron Rose.

From a production standpoint, Jean Rollin once again proves he's a magician with the way he stretches his anemic resources. That said, Jean Rollin’s exquisite taste when it comes to choosing location is one area where his films always deliver. This is especially clear when it comes to how the visuals fully exploit the locations. Ultimately, The Demoniacs is a film filled with surrealism and symbolism that walks a fine line between arthouse and exploitation cinema.

The Demoniacs makes its way to 4K UHD via a definitive release from Powerhouse Films, highly recommended.

Note: This release is a limited edition of 10,000 numbered units (6,000 4K UHDs and 4,000 Blu-rays) for the UK and US.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

Written by Michael Den Boer

Santo vs. the Riders of Terror – Indicator Series (Blu-ray)

Theatrical Release Date: Mexico, 1970
Director: René Cardona
Writers: René Cardona, Jesús Murcielago Velázquez
Cast: Santo, Armando Silvestre, Julio Aldama, Mary Montiel, Gregorio Casal, Ivonne Govea, Carlos Agostí, Carlos Suárez, Nathanael León

Release Date: March 25th, 2024 (UK), March 26th, 2024 (USA)
Approximate Running Times: 77 Minutes 50 Seconds (Santo vs. the Riders of Terror), 84 Minutes 30 Seconds (Lepers and Sex)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Spanish (Both Versions)
Subtitles: English (Both Versions)
Region Coding: Region Free
Retail Price: £19.99 (UK), $39.99 (USA)

"When a group of lepers escape from their asylum, they fall under the influence of a band of outlaws who are terrorizing a small western town. The desperate sheriff calls for El Santo to defeat the bandits, defend the townsfolk, and help the exploited lepers." - synopsis provided by the distributor

Video: 4.5/5 (Both Versions)

Here’s the information provided about the transfer, "Santo vs. the Riders of Terror and Lepers and Sex were restored in 4K by Permanencia Voluntaria and Cinema Preservation Alliance from a combination of original camera negatives and master positive elements."

Santo vs. the Riders of Terror comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 20.3 GB (Santo vs. the Riders of Terror), 22.2 GB (Lepers and Sex)

The source for both versions looks excellent, when compared to VCI’s release this new transfer blows it away. Flesh tones look correct, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image always looks organic.

Audio: 4.5/5 (LPCM Mono Spanish - Santo vs. the Riders of Terror, LPCM Mono Spanish - Lepers and Sex)

Each version comes with one audio option, a LPCM mono mix in Spanish with removable English subtitles. Both audio tracks sound clean, clear, balanced, and robust when they should.

Extras:

Extras for this release include an image gallery (55 images - stills/lobby cards/posters/other promotional art), a theatrical trailer (4 minutes 3 seconds, Dolby Digital mono Spanish with removable English subtitles), alternate French titles (1 minute 43 seconds, Dolby Digital mono), an interview with Armando Hernandez, writer, programmer and creator of the Trash-Mex website titled Cardona Bonanza (8 minutes 13 seconds, Dolby Digital stereo English, no subtitles), an interview with lucha libre specialist and filmmaker the Killer Film titled Western a la mexicana (11 minutes 42 seconds, Dolby Digital stereo Spanish with removable English subtitles), an with actor Armando Silvestre titled The New Sheriff in Town (12 minutes 14 seconds, Dolby Digital stereo Spanish with removable English subtitles), an audio commentary with film historian and Mexican cinema specialist David Wilt, and an 80-page booklet with cast & crew information, an essay titled Wrestlers, Sexo, and Censorship written by Colin Gunckel, an archival essay titled El Santo, Semiotics, and National Allegory written by Doyle Greene, an archival article titled The Real El Santo Arrived Yesterday in Bogota, an archival essay titled El Santo vs the Cineteca Nacional De Mexico written by Olivia Cosentino and Brian Price, an archival interview with actress Viviana García Besné by Colin Gunckel, and information about the restorations.

Summary:

In a career that spanned six decades and 147 feature films, he directed nine Santo films. His notable films are The Living Idol, La Llorona (1960), Doctor of Doom, Night of the Bloody Apes, The Bat Woman and The Panther Women.

The narrative revolves around a group of criminals who exploit escaped lepers by masquerading as lepers.

Santo knows no boundaries; he has appeared in just about every situation and film genre. That said, seeing Santo in the Old West feels odd, even by Santo film standards. The most impressive aspect of Santo vs. the Riders of Terror is how they manage to work wrestling matches into a film set in the old west.

Though billed as the main attraction, Santo does not appear until around the 23-minute mark. And though he does his best to convincingly portray a cowboy, Santo, performance-wise, is the weakest link. When it comes to the rest of the cast, they are great, especially the actors portraying the lepers.

Content-wise, Santo vs. the Riders of Terror has all of the elements one would expect from a western. With some Santo elements thrown in for good measure, unfortunately, the sum of these two parts never really gels.

When viewed as a western Santo vs. the Riders of Terror, it is a very good film, but when viewed as a Santo film, it is one of his weaker films. Fortunately, the good outweighs the bad. Ultimately, Santo vs. the Riders of Terror is a melting pot film that has something for everyone.

The main difference between these two versions is that Lepers and Sex add moments of nudity and erotica. That said, though these moments do not hurt, they do not enhance the narrative. Also, both versions have opening credits that are not part of VCI’s Blu-ray release.

After watching VCI’s horrendous release, I was not originally impressed with Santo vs. the Riders of Terror. That said, this new release is a perfect example of how a quality release that takes full advantage of the Blu-ray format can enhance one's appreciation for a film. Santo vs. the Riders of Terror gets a definitive release from Powerhouse Films, highly recommended.

Note: Limited edition of 8,000 numbered units for the UK and US.

Written by Michael Den Boer

Leave Her to Heaven – The Criterion Collection (Blu-ray)

Theatrical Release Date: USA, 1945
Director: John M. Stahl
Writers: Jo Swerling, Ben Ames Williams
Cast: Gene Tierney, Cornel Wilde, Jeanne Crain, Vincent Price, Mary Philips, Ray Collins, Gene Lockhart, Reed Hadley, Darryl Hickman, Chill Wills

Release Date: March 24th, 2020
Approximate Running Time: 110 Minutes 14 Seconds
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $39.95

"Novelist Richard Harland (Cornel Wilde) seems to have found the perfect woman in Ellen (Gene Tierney), a beautiful socialite who initiates a whirlwind romance and steers him into marriage before he can think twice. Yet the glassy surface of Ellen’s devotion soon reveals monstrous depths, as Richard comes to realize that his wife is shockingly possessive and may be capable of destroying anyone who comes between them." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, "New 2K digital restoration by Twentieth Century Fox, the Academy Film Archive, and The Film Foundation. A new digital transfer was created from a 35mm color reversal internegative. A 35mm nitrate IB Technicolor print was used as a reference for picture restoration, which was completed at Reliance MediaWorks in Burbank, California.”

Leave Her to Heaven comes on a 50 GB dual layer Blu-ray.

Disc Size: 37.8 GB

Feature: 30.3 GB

Color saturation is the most disappointing aspect of this transfer, and yet, there are moments when colors look very good. That said, the source is in excellent shape; it is virtually free of any source imperfections. Image clarity and black levels are strong, and compression is very good.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio is in great shape, there are no issues with background hiss or distortion. Dialog comes through clearly, and everything sounds balanced. Range-wise, this audio track sounds very good.

Extras:

Extras for this release include a theatrical trailer (2 minutes 13 seconds, Dolby Digital mono English, no subtitles), an interview with film critic Imogen Sara Smith who discusses director John M. Stahl and Leave Her to Heaven (26 minutes 34 seconds, Dolby Digital mono English, no subtitles), and a leaflet with an essay titled The Eyes of Ellen Berent written by Megan Abbott, and information about the transfer.

Summary:

Directed by John M. Stahl, whose other notable films are Imitation of Life (1934), Magnificent Obsession (1935), Only Yesterday, Holy Matrimony, and The Keys of the Kingdom.

The narrative revolves around a woman who feels threatened by anyone who gains attention from the man she loves.

There are many elements in Leave Her to Heaven that one associates with Film noir, especially the femme fatale character traits exhibited by the protagonist. And though the premise is the type of scenario that screams Film noir, what unfolds is something closer to a melodrama. Also, when it comes to the visuals, they are devoid of all the elements that are synonymous with Film noir.

From its opening moments, Leave Her to Heaven draws you into its web of deceit. The bulk of the narrative is a lengthy flashback. The narrative does a phenomenal job building up its characters; their motivations are never in doubt. And an exemplary finale serves as the perfect coda to the events that preceded.

Leave Her to Heaven is a film where they did an amazing job casting, and the entire cast is great in their roles. They all pale in comparison to Gene Tierney’s (Laura) portrayal of Ellen Berent Harland, a woman whose obsessions consume her. That said, she delivers the best performance of her career. A notable cast member is Vincent Price (The Fly) in the role of Ellen’s former suitor. It is interesting to see him in a non-horror role.

From a production standpoint, Leave Her to Heaven is a magnificent film where everything falls into place. The well-executed narrative does a superb job building and maintaining tension. Also, it is a beautifully photographed film. There are two moments that stand out; the first of these is a scene where Ellen watches emotionlessly as her husband's brother drowns, and the other is a scene where Ellen intentionally throws herself down a flight of stairs to induce a miscarriage. Ultimately, Leave Her to Heaven is an extraordinary psychological melodrama.

Leave Her to Heaven gets a strong release from The Criterion Collection, recommended.

Written by Michael Den Boer

Goodbye Uncle Tom – Blue Underground (4k UHD/Blu-ray/CD Combo)

Theatrical Release Date: Italy, 1971
Directors: Gualtiero Jacopetti, Franco Prosperi
Writers: Gualtiero Jacopetti, Franco Prosperi
Narrator: Stefano Sibaldi

Release Date: April 23rd, 2024
Approximate Running Times: 135 Minutes 48 Seconds (Addio Zio Tom - Italian Version), 123 Minutes 17 Seconds (Goodbye Uncle Tom - English Version)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Both Versions)
Rating: NR
Sound: DTS-HD Mono Italian (Addio Zio Tom - Italian Version), DTS-HD Mono English (Goodbye Uncle Tom - English Version)
Subtitles: English (Addio Zio Tom -Italian Version), English SDH (Both Versions), Spanish (Goodbye Uncle Tom - English Version)
Region Coding: Region Free
Retail Price: $69.95

"The film considered too shocking for the world! Written, edited, produced and directed by Gualtiero Jacopetti and Franco Prosperi of Mondo Cane fame, this epic recreation of the American slave trade atrocities was both condemned as depraved exploitation and acclaimed as an unprecedented cry of Black anguish and rage." - synopsis provided by the distributor

Video: 5/5 (Addio Zio Tom, Goodbye Uncle Tom)

Here’s the information provided about this release's transfer, "brand-new restorations, scanned in 4K 16-bit from their original negatives, with Dolby Vision HDR".

Addio Zio Tom comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.8 GB

Feature: 82.3 GB

Goodbye Uncle Tom comes on a 100 GB triple layer 4K UHD.

Disc Size: 83.1 GB

Feature: 77 GB

Blue Underground has done a phenomenal job; both versions look excellent. Flesh tones and colors look perfect; image clarity, contrast, black levels, and compression are solid; and the image always looks organic.

Audio: 5/5 (DTS-HD Mono Italian, DTS-HD Mono English)

Addio Zio Tom comes with one audio option, a DTS-HD mono mix in Italian with some English. This version comes with two subtitle options: English for everything that is in Italian and English SDH for the entire film.

Goodbye Uncle Tom comes with one audio option, a DTS-HD mono mix in English with removable English SDH. This version also comes with removable Spanish subtitles.

Both audio tracks sound excellent. Dialog always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras on the 4K UHD disc with Addio Zio Tom include an Italian theatrical trailer (5 minutes, DTS-HD mono Italian with removable English subtitles).

Extras on the 4K UHD disc with Goodbye Uncle Tom include an English language theatrical trailer (3 minutes 29 seconds, DTS-HD mono English, no subtitles).

Extras on a Blu-ray disc include stills galleries: posters (14 images), advertising materials (19 images), Japanese souvenir program (24 images), lobby cards (55 images), stills (34 images), video & soundtrack (19 images) and Giampaolo Lomi’s behind-the-scenes photos (53 images), an Italian theatrical trailer (5 minutes, DTS-HD mono Italian with removable English subtitles), an English language theatrical trailer (3 minutes 29 seconds, DTS-HD mono English, no subtitles), an interview with professor Matthew J. Smith titled Abjection Under Authoritarianism (19 minutes 47 seconds, Dolby Digital stereo English, no subtitles), an interview with author and academic Mark Goodall titled Mondo Mercenaries (27 minutes 15 seconds, Dolby Digital stereo English, no subtitles), behind-the-scenes 8mm footage with optional audio commentary by production manager Giampaolo Lomi (49 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an archival featurette titled Goodbye Cruel Mondo with comments by screenwriters/directors Gualtiero Jacopetti and Franco Prosperi, and composer Riz Ortolani (20 minutes 1 second, Dolby Digital stereo Italian with non-removable English subtitles), a documentary titled The Godfathers of Mondo (89 minutes 16 seconds, Dolby Digital stereo Italian and English with removable English subtitles), and a documentary titled The Importance of Shocking: Gualtiero Jacopetti (93 minutes 59 seconds, Dolby Digital stereo Italian and English with removable English subtitles).

A CD with Riz Ortolani’s 23-track score.

Other extras include reversible cover art, a slipcover, and a 20-page booklet with an essay titled A Case for Goodbye Uncle Tom written by Dan Madigan, and a track listed for  Riz Ortolani’s score.

Summary:

When one discusses Italian Mondo films, the discussion begins and ends with Gualtiero Jacopetti and Franco Prosperi. With Mondo Cane, they revolutionized this type of filmmaking, and with each subsequent film, they continued to push the boundaries of on-screen content further. By the time they directed Addio Zio Tom, they had already directed these influential Mondo films: Mondo Cane, Women of the World, Mondo Cane 2, and Africa Addio. They co-directed Mondo Cane and Women of the World with Paolo Cavara, who would go on to direct three Mondo films on his own.

It is interesting how different Goodbye Uncle Tom is from Addio Zio Tom; what started off as a singular film evolved into what is essentially two films. All but one scene in Goodbye Uncle Tom takes place in the past, while Addio Zio Tom is a mixture of the past and the present. In the case of the latter, the bulk of the modern footage revolves around the black power movement in America. Also, these differences in footage are not where they differ; the way in which Addio Zio Tom juxtaposes the Black Power footage with the past drastically changes the tone. No matter which version you watch, they are both grueling experiences that are not for the faint of heart. That said, for me, Goodbye Uncle Tom is the more powerful of these two versions.

Though Mondo films are known for staging footage, what happens on screen in Goodbye Uncle Tom and Addio Zio Tom takes it to another level. Needless to say, the amount of suffering is excessive; it gives you a crystal clear view of what slaves endured. The non-actors endured great hardships to stage the horrific moments in this film, making it the most challenging aspect of Goodbye Uncle Tom and Addio Zio Tom. The most impactful aspect of Goodbye Uncle Tom and Addio Zio Tom is Riz Ortolani’s evocative score, which is swelling with deep emotions, especially the music cue Oh My Love. His score perfectly contrasts with the on-screen brutality and depravity, similar to his score for Cannibal Holocaust.

One always examines their countries' pasts through a narrow viewpoint, as told by those who are in power and control history. The most interesting aspect of Goodbye Uncle Tom and Addio Zio Tom is its viewpoint from outsiders, two Italian filmmakers. Despite using documents and other materials from the era they are depicting, their view of American history is not the same as that of someone who lives here. Also, when it comes to the past, there are scars that remain from painful moments. In recent times, atrocities from America's past have received significant attention. Instead of ignoring its past, we should never overlook it. However, focusing too much on a painful scar from the past does not heal what has been done; it only widens the rift further.

That said, cinema’s main goal is to tap into our emotions. All films manipulate us in some way. Filmmakers manipulate us in two ways: subtly interjecting or wielding a sledgehammer. It is clear that the filmmakers intended to provoke viewers with Goodbye Uncle Tom and Addio Zio Tom. Ultimately, no matter where you sit with Goodbye Uncle Tom and Addio Zio Tom, it is a powerful piece of filmmaking that you will not soon forget.

The extras for this release are essential, as they provide further context about the film and the filmmakers behind it. Goodbye Uncle Tom gets a definitive release from Blue Underground that comes with a solid audio/video presentation and an exceptional selection of extras, highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

Written by Michael Den Boer