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The
Spin Sheet
DVD
reviews by Bill Hunt, editor of The Digital
Bits
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House
of Flying Daggers
2004 (2005) - Sony Pictures Classics (Sony)
Film Rating: B-
Disc Ratings (Video/Audio/Extras): C+/A-/B
In 9th Century China, as the decadent Tang Dynasty is in
decline, a pair of provincial police officers is assigned the
task of uncovering the identity of the new leader of a group of
deadly revolutionaries known as the House of Flying Daggers. One
of the officers, Leo, suspects that a dancer at the local
brothel may be a member of this secret clan, so he sends his
partner Jin in undercover to flush her out. The plan works and
the dancer, a young blind woman named Mei, is quickly arrested.
Rather than interrogate her, Leo sets yet another plan in
motion. He has Jin break her out of jail, pretending to be a
sympathizer with the Daggers, and offer to return her to her
clan. Leo and the rest of his police force will follow them,
pretending to try to capture them. Mei is suspicious at first,
but when their pursuers attack and Jin saves her life, she
slowly begins to trust him. As their flight from the law grows
more desperate, and the attacks on them more intense, the two
begin to develop romantic feelings for one another. What follows
is a surprisingly engaging story of love-on-the-run, with
continually unfolding layers of intrigue and deception.
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As
a film, House of Flying Daggers
is lush and visually gorgeous. Directed by HERO's
Zhang Yimou, the story here is less intellectually rewarding than
HERO, but in some ways more
emotionally satisfying. This is a smaller, more personal story with
three basic components - the initial detective plot, Jin and Mei's
love story and flight from justice, and the larger conflict between
the government soldiers and the House of Flying Daggers. Each is
interesting in its own right. What Daggers
lacks however, is a strong dramatic thru-line to unite these
elements. While HERO was less
obviously romantic, it's deceptively complex narrative purposefully
built to a climax. Daggers
leads you to believe that its story is going to be every bit as
epic. But just as you get to the point where the larger conflict
seems about to resolve, the film narrows its focus to the resolution
of the personal story instead. That's not necessarily bad, it's just
not what you're likely expecting. It also leaves Daggers
feeling more than a little a bit disjointed narratively.
Still, the film is every bit the visual masterpiece that HERO
is. While the previous film was a study in color, movement and often
stark simplicity, here the images are more intricate and detailed.
Daggers is a film that you
could easily enjoy without any dialogue or subtitles - music and
motion is all you really need. The wire-fu is just as complex and
unbelievable as HERO or Crouching
Tiger, and its an absolute thrill to watch. This film's
final sequence alone - a powerful and personal battle in the snow -
is worth sitting through the film for all by itself.
Sadly, I'm surprised and disappointed to say that the video quality
on Sony's DVD release doesn't even begin to do this film justice.
Daggers is presented in
anamorphic widescreen video, but this seems like a case of way too
much material crammed onto a single, dual-layered disc. In addition
to the film, well over an hour of behind-the-scenes video has been
included as well. For any other film on DVD, that might be fine. But
Daggers is so visually
intricate and complex that the amount of digital compression needed
to shoehorn everything on to a single disc has resulted in an image
that's rife with artifacting. The colors are also not as vibrant as
they should be (or would be on, for example, one of Sony's Superbit
releases). I can only assume that a Superbit release is already
planned, because this video presentation just doesn't cut it at all.
The film's sound at least fares better on this disc, with a very
strong Dolby Digital 5.1 surround mix. The sound stage is big and
wide, with plenty of atmospheric imaging and reasonably active
surrounds. Dialogue is clear (available in both the original
Chinese, and dubbed English and French), the music is well blended
and there's good bass reinforcement in the LFE. You'll be most
pleased with the sound quality in all the obvious places - the "echo
game" sequence, the battle scenes, etc. I suspect the DTS mix
that would have been available on a Superbit release would be a bit
smoother and more immersive, but the Dolby offering is quite good
and will more than do in the meantime.
The real shame of this DVD is that the extras are surprisingly good
- certainly more than I expected to get. You have a thoughtful and
interesting feature-length audio commentary with the director and
actress Ziyi Zhang (Mei). There's also a solid 45-minute documentary
on the making of the film, as well as a short video clip on the
film's visual effects. When you access either the commentary or the
documentary, you automatically get on-screen English subtitle
translation (these features were produced in the production's
original Chinese). Also available on this disc is a music video for
Lovers, the film's closing
theme song, as well as a production photo gallery, a gallery of
costume photos, preview trailers (for Daggers
and four other films) and a set of 6 storyboard-to-film comparisons
(it's amazing how closely the final film matches the artwork).
Sony should really have released House
of Flying Daggers as a 2-disc set, with the film
presented in Superbit quality. Maybe it will be yet... or maybe
Sony's waiting to wow people with this film on Blu-ray Disc instead.
In don't know. In any case, what we get on this disc is a decidedly
mixed bag - a good film with mediocre video quality but nice extras.
I know that's not exactly a recommendation, but I'm afraid it's the
best I can do.
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Bring
on the Night
1985 (2005) - A&M (Universal Music)
Film Rating: A-
Disc Ratings (Video/Extras): B/C+
Audio Ratings (DD/DTS): A/A
Now THIS is old school Sting, the way I remember him. The guy
with the giant ego and the dark, brooding aspect who seemed
determined to conquer the musical world, the film world and
whatever other world might interest him.
In 1985, Sting took a hiatus from the group that had launched
him into superstardom, The Police. At least that's what fans
thought. The reality was that The Police were for all practical
purposes no more, because Sting felt he'd outgrown the 3-piece
rock group format. Wanting to return to his musical roots
instead, Sting enlisted the aid of a group of first-rate Jazz
musicians, including the likes of Branford Marsalis (yes, THAT
Branford), Kenny Kirkland, Darryl Jones, Omar Hakim and
vocalists Dolette McDonald and Janice Pendarvis. He also
enlisted the talents of filmmaker Michael Apted to capture the
formation of this new band, and its first world tour. It didn't
really matter that this new "band" was really
creatively dominated by Sting (as even these musicians were
aware), and that the group only lasted for a couple of albums
and tours. None of that mattered because, while it lasted, this
was an absolutely extraordinary musical endeavor.
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Bring
on the Night is far from the greatest concert film ever,
but it is a wonderful study in character. Everything that is
Sting... everything that motivates him, all his talent and ambition
and subtle emotion... is on display in this film. What's fascinating
is to see the way other, equally talented musicians react and adjust
to his personality, pushing him in new directions and vise versa.
More interesting than the performance footage itself, which IS quite
good, are the countless scenes of this group interacting creatively
and personally. You'll see Sting trying to bend the group to his
will, and also you'll see the group pushing him out of his comfort
zone. You'll see them forcing a more playful, creative side out of
Sting. One minute they're rehearsing Fortress
Around Your Heart or Love Is
the Seventh Wave per Sting's direction, and the next the
band is gleefully jamming out the theme to The
Flintstones (to which Sting knows all the words, despite
protests to the contrary) or teasing Sting about being the British
George Jefferson. When the filmmaker asks Sting's wife, Trudy
Styler, at one point what effect these musicians are having on him,
she gleefully responds, "They're having a tremendous effect on
him. He's very happy. He's very funny. He's lightened up a lot. He's
not reading so many books..." You'll even see the delivery of
one of Sting's sons during this film (Styler was pregnant at the
time and actually went into labor the night of the first concert -
talk about nervous energy).
This new DVD from Universal Music offers the film in anamorphic
widescreen video. The quality is quite good - better than what I
expected. The film is grainy and a little too edgy at times, but
color and contrast are both excellent. The print could have used a
good cleaning, but otherwise I'm fairly happy with this video
presentation. On the audio side, this disc REALLY excels. Both Dolby
Digital 5.1 and DTS 5.1 surround mixes are included. Each sounds
fantastic. In fact I'd say there are only very subtle differences
between the two. Both feature wide and surprisingly immersive sound
stages, with lots of subtle, atmospheric use of the rear channels
during the concert and rehearsal footage, and very solid bass. This
film has never sounded this good before.
Surprisingly, the disc includes a few extras as well. You get three
music videos (for Bring on the Night,
If You Love Somebody Set Them Free
and Russians - I would have
liked Fortress Around Your Heart
as well, but that's a nitpick). You also get the film's original
theatrical trailer, a photo gallery that includes audio of original
radio spots for the film, and a programmable playlist option that
lets you choose the order in which you'd like songs to play (if you
wish).
If you're a fan of Sting and his music, Bring
on the Night is absolutely required viewing. The thing
you begin to understand about this guy is that while, yes... he does
have a massive ego, he's easily got the talent and ambition to match
it. You get the sense that Sting's a very restless guy. He keeps
pushing himself to try new things, to break new ground, to force
himself into new creative endeavors... simply because that's just
who he is. It's what he HAS to do. For fans of his previous efforts,
like The Police, that's somewhat disappointing. But it's also what
makes his music interesting and gives it continued relevance. One
can only wonder, what's next?
Bill Hunt
billhunt@thedigitalbits.com
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