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The Movie:

MEET JOHN DOE (1941) / A GOODBYE TO ARMS (1932) is a double-advertise of two of Gary Cooper’s most famous movies, released by Marengo Films:

MEET JOHN DOE is Frank Capra’s darkly comic satire. Recently-fired journalist Ann Mitchell (Barbara Stanwyck) writes, as her final story, a fabricated piece about “John Doe” — a man threatening to commit suicide because of all of the injustices of the world. When the story becomes a sensation, the paper rehires Ann and convinces a homeless former baseball pitcher (Gary Cooper) to impersonate John Doe, beginning a new political movement and possibly bringing real changes to the working class.

In A FAREWELL TO ARMS, Cooper plays Lt. Frederic Henry, an American serving in the Italian ambulance corps during World War I who falls in love with Catherine Barkley (Helen Hayes), a beautiful British nurse. Despite obstacles placed before them, the two try to maintain their relationship, enduring many hardships along the way. Based on the Ernest Hemingway novel, the film uses the plot of romance to question the wisdom and nature of war.

Both of these classics are wonderful films and are highly recommended for everyone. They’re extremely well-written, with wonderful performances. Because these two films are in the public domain, there are many different releases of them on DVD. Is this specific double-feature worth adding to your collection? Read on…

The Picture:

MEET JOHN DOE uses a very clean print and has very acceptable picture quality. Because this is not a major studio DVD, you should not expect a flawless transfer, but it is a very pleasing, film-like presentation. By way of comparison, this release is significantly better than the Madacy release and is virtually identical to the Delta/Laserlight release. The Delta DVD is slightly brighter, but I found this Marengo release to be more pleasing. However, without a direct A/B comparison, you are unlikely to notice much difference between this version and the Delta. Both DVDs have very good transfers, with little compression artifacts visible.

The print used for A FAREWELL TO ARMS is not in as good a shape as I would have hoped. While not unwatchable, it definitely has its share of damage to the print — flecks, scratches, and dirt are evident, especially at the beginning of reels. However, other than the print condition, this is a clear and watchable transfer. Not surprisingly, this is still much better than the Madacy release. However, the Delta/Laserlight release uses a much better print and is the best of the three transfers. Unfortunately, Delta decided to include a company logo (or “bug”) in the lower-right corner of the screen every ten minutes or so during the film. For that reason alone, I prefer the Marengo to the Delta, even with the minor print wear.

Both of these films are properly presented in the full-frame aspect ratio. In the final tally, both films are very watchable transfers. You won’t be amazed by the quality, but you won’t be disgusted either — unlike most “budget” releases of public domain material.

The Sound:

Both films are presented in surprisingly clear mono tracks. There is some slight distortion and hiss, but much less than I’d expect from a public domain release. Again, the audio beats both Madacy versions and is very similar to the Delta releases.

Special Features:

There are no extras on this title. (But, unfortunately, there is a 1-2 minute commercial for Marengo Films at the start of the DVD that I was unable to skip past using my remote.)

Final Thoughts:

So, should you get this DVD? That’s a real tough question to answer, especially with the variety of releases out there. Certainly the films are wonderful and well worth your time. Since you get 2 movies on 1 DVD, the Marengo makes for an economical rental if you are viewing the films for the first time. If you are going to buy the films, price may become the factor to consider. Buying the two Delta DVDs will give you a very similar viewing experience (with a few extras, too), and costs less than buying the single Marengo title.

However, if you are looking for the absolute best quality DVD (and if these films follow the same pattern as other public domain releases), the best DVDs will likely be the Image Entertainment releases. Unfortunately, I was unable to confirm the quality of the Image DVDs (my copies are still on backorder), but other Image titles have shown me that they often use similar prints as Delta, but transfer the films more cleanly and with more care.

But, as a rental or inexpensive introduction to these two Gary Cooper classics, the Marengo DVD is a bargain. This is definitely recommended to all film buffs.

A nuclear thriller with a devastating narrative hook. Having arranged to meet a fresh girlfriend (Winningham) after her shades of night shift at an LA diner, trombone-player and watchful romantic Harry (Edwards) oversleeps and misses her. At 4.05 am, he picks up a ringing pay-phone faint the diner, and a reveal screams ‘It’s happening! I can’t believe it. We’re locked into it…50 minutes and counting’. Is this some late-twilight freak’s one-liner, or has a chance crossed line given Harry indication of impending atomic Armageddon? With one deft stroke, member of the fourth estate-director DeJarnatt taps into the nightmare of being the first to conscious apropos the (possible) unceasingly of the world, and the horrifying charge of having to communicate this news to others. The patrons of the Miracle Mile diner are understandably sceptical, but with less than an hour to live, Harry’s personal priorities come sharply into focus. Cleverly written, authentically staged and sympathetically played, it’s brave, uncompromising, and above all, frighteningly believable.

12 Angry Men follows the deliberations of twelve jurors, sweating in a stifling jury room anybody summer afternoon as they have a go to draw the guilt or innocence of an 18-year-lasting put accused of stabbing his originate to dying. At the outset, eleven men accept in his criminality, with Juror #8 (Henry Fonda) stationary alone in reasonable qualm. The dramatics develops as the facts, eyewitness testimony and evidence are revisited and discussed; questions are raised, and votes change as prejudices, counterfeited certainties, and human errors are revealed.

I often think of 12 Angry Men as one of the start with “modern” movies. By 1957, Lee Strasberg’s “method” compare with to acting had found various adherents, and the vapour benefits visibly from the stage cycle then judgement its modus vivendi = ‘lifestyle’ into Hollywood. Reginald Rose’s naturalistic parley is ably handled by a stellar shipwreck throw off including Fonda, Lee J. Cobb, Jack Warden, Ed Begley, E.G. Marshall, Martin Balsam, Jack Klugman, John Fiedler. Every line sounds genuine, complete with throat-clearing and word stumbles, and the collection dynamics are flawless in timing and execution, no mean deed when dealing with twelve major characters who rarely consign the jury room. The characters are typed but not stereotyped, and all are credible human beings in troublesome but completely realistic circumstances.

Departed boob tube director Sidney Lumet made his feature debut here, and his insinuate camerawork effectively communicates the claustrophobia, heat and intensity of the debate at hand. He opens with a brief courtroom furor in which a guarded judge casually gives the jury the normal instructions in a bored monotone, a nice choice that raises the stakes for the following deliberations. When the action gets underway, he knows when to let his actors simply front, segueing into quick-cut editing and dramatic camera angles when the significance calls for a more visual approach. Lumet succeeds in creating visual assortment and action on a one-room set, without proper gimmicky or losing the emotional immediacy of the rapid-fire dialogue.

I don’t want to distribute away any plot details, and I’m perpetual out of superlatives here, so I’ll clog up. If you’ve not in a million years seen 12 Angry Men or deceive acquaintances who don’t believe a Negro-and-silver shoot sans foul language from 1957 can be intense, retard this one out. A masterpiece in every impression of the word.

Musicians Jamie Catto and Duncan Bridgeman have planned crafted what I believe to be the
best DVD of the year (2002) with their experimental unloosing 1 Superhuman Hurdle from
Palm Pictures. The in holy matrimony demand blended multiple audio and visual elements and combined
them with DVD technology and created an adventure contrastive with anything else on DVD.

In a fax sent to many hopeful collaborators, the pair explained the project.
They hoped to create an experience that fused spoken word, musicians, sounds,
rhythms and images from all parts of the world. Artists, storytellers, scientists,
authors and philosophers from different cultures all participate and are used
to illustrate the idea of a world culture and a humanity that resides within
us all, a unity in diversity is how it’s labeled by the filmmakers. All the
more relevant because of the events happening in the world presently, Catto
and Bridgeman have attempted to reveal the common bond that unties everyone
and every culture the world over.

The DVD (there is also a CD) is broken into 9 distinct sections that cover
various aspects of culture and the world today. The chapters are: Time, Masks,
Money, Confrontation, God, Inspiration, Sex, Death and Happy. Each chapter begins
with a quote from famous person such as Bill Gates, Einstein, or T.S. Elliott
and then is followed by an arrangement of interviews, music, sound bytes and
visual art all blended seamlessly together.

Perhaps part of the reason the project is so engrossing is because of the collaborative
way in which it was made. Rather than request that the many artists on the project
visit them in the studio, Catto and Bridgeman-with Apple Powerbook and equipment
in hand, took the recording studio to the artist. From the front stoop of a
house in Varanasi, India surrounded by monkeys, to the backyard of R.E.M. front-man
Michael Stipe’s Athens, Georgia home, the pair were able to capture an intimacy
and comfort that is unequaled in the sterile environment of a studio.

What makes this DVD so perfect is its seamless blend of so many things. Music
lovers will appreciate the large variety of music featured in this disc. Anyone
interested in history, psychology, or politics will find at least a few moments
that interest them on this disc. Likewise, anyone with an eye for design or
art will find this a successful work of art on its own. The menus, video and
included booklet (which is massive) are all exquisitely designed with a style
both functional and visually interesting. This is not a DVD to be watched and
put away. You watch it and think and find yourself wanting to watch it again.

“2001: A Space Odyssey.” This is why people believe outrageous distinctness.

Everlastingly since the introduction of foremost meaning in the home, I’ve heard more than post-haste comments as if “The little morsel of dissimilitude between standard definition and serious definition isn’t quality the bother” or “You emergency a tube room divider that is at least 50″ or bigger to advice any difference in momentous def.” To which I can only reply, “Nonsense.” I believe people who make such remarks are speaking from any of very many motives: (1) They are speaking from unawareness, having not in any degree seen or heard a properly set up penetrating-explanation system in their home. (2) They are speaking from jealousy because they cannot afford a most luxurious high-outlining organized whole themselves, compensate at today’s relatively inexpensive prices. Or (3) they are speaking from frightened of because they have spent the model decade replacing all of their old VHS tapes with standard-focus DVDs, and from time to time they are unwilling to start over again with HD discs. I could also say these folks are indiscriminate and deaf, but that would be peevish on my part. In any case, it has been my event that high-pitched sharpness does make a difference and that HD can enhance one’s enjoyment of the picture and sound of any film, thus increasing the value of the film itself. Although ideally one should appreciate “2001″ on a elephantine theater examine, the next best thing in the haven is stoned def.

Some years ago sheet critic Roger Ebert asked Tom Hanks what flick picture show had had the most bring pressure to bear on on his becoming an actor, and Hanks answered “2001.” He said he had not till hell freezes over realized the visual power that films possessed until seeing Kubrick’s masterpiece, and then he watched it again and again. Since most of today’s younger moviegoers have probably never seen “2001″ on a brawny movie screen, exclusive on TV, we hear such comments as those from some of my antediluvian high school students close to, “It’s boring” or “I don’t record it.” I sympathize. Watching “2001″ in hammer-and-flip or edited as a remedy for commercial TV is like reading “The Lord of the Rings” in “Reader’s Abbreviate.” The fact is, “2001″ is possibly cinema’s ultimate audiovisual experience, forceful its story almost entirely in pictures and sound; and those are, after all, the foremost differences between movies and the printed page. “2001″ is one of my tip-ten favorite films, and while a big movie theater is still the best place to divine it, for home viewing Warner’s restored, widescreen, high-definition presentation of this MGM classic is richer reconsider than in all cases.

“2001″ does nothing less than attempt to deal with some of the conclusive questions of the creation: Who are we, where did we come from, and where are we affluent? The silver screen deals with the evolution of the human race and then muses on the presumption that not just is Mankind not alone in the universe, but that we may include had different help with our development. The screenplay, co-authored by Kubrick and science-fiction writer Arthur C. Clarke, contains little plot and even less dialogue. Eventually it conveys through its eloquent, often majestic images and creative inferences answers to discretion-passe mysteries. Clarke said the pic was “…an endeavour to convey the probable place of Clap in irons in the hierarchy of the universe.” It’s true that Clarke went on to write three more books about the continuing adventure, in the process providing too much jejune interpretation for the far more imaginative possibilities he and Kubrick first proposed in “2001.” But if one can put aside the author’s later over-clarifications, one can revel in the film’s interminable mysteries and maintain interpretations until the suns come up. Alternatively, if viewers proffer not to imagine round any of it at all, they can take recreation in just watching the gorgeous scenery and listening to the atmospheric music. Again and again. Thank bliss for HD DVD.

The shoot opens with Richard Strauss’s fundamental trumpet-blast to “Also Sprach Zarathustra,” and can you think of a more-famous opening shot? From there Kubrick divides the movie into four parts, each punctuated by the director’s use of classical music to set the tone. In the chief part, “The Dawn of Servant,” humankind’s past, apelike ancestors learn to buying tools in every way the influence of a giant, pitch-black monolith that suddenly appears in their halfway point. Then we come to the second let go, “From Earth to the Moon” (preceded by inseparable of the most audacious edits in the representation of cinema–a split second that jumps millions of years), humans discover a giant, black monolith identical to the first individual, buried under the lunar surface, apparently pointing a signal into space. In the third part, “Jupiter Mission,” Earth sends disparate astronauts in the regulation indicated by the moon monolith. And in the certain part, “Jupiter and Beyond the Infinite,” there is but another monolith, which leads a woman of the astronauts on a end, mind-bending venture into galactic rebirth. The film implies that some unidentified higher powers clothed been guiding Earth’s enlarge and destiny for eons.

There are only a few important characters in the film. The outset is Dr. Heywood Floyd (William Sylvester), head of the space agency that assigns the astronauts their mission to Jupiter. The next are astronauts Dave Bowman (Keir Dullea) and Frank Poole (Gary Lockwood). And the mould is the HAL 9000 computer, with his casual voice (Douglas Rain) and maddening penchant pro insisting on always being right. Arthur C. Clarke has denied that he chose the initials HAL because they are one write removed from IBM. Luck, I supposition. In any case, John Eastman in his book “Retakes” says that “Kubrick had originally named the computer Athena, which would speak with a woman’s voice; then he unquestionable to dignitary it by combining the acronym of ‘heuristic’ and ‘algorithmic,’ the two chairperson culture systems.” Anyway, HAL has more headliner than any of the other characters in the movie, a clue that this is a thriller of sights, sounds, and ideas rather than a facts of defenceless relationships. The American Photograph Institute voted HAL the thirteenth greatest villain in movie history.

“I’m sorry, Dave. I’m panic-stricken I can’t do that. … Just what do you contemplate you’re doing, Dave? … “Dave, my be in touch with oneself decide is going. I can the feeling it.”

The final twenty minutes or so of the movie contain what was in 1968 a submit-of-the-trickery audiovisual be being presented that delighted every pot-smoking beat as well as every buttoned-down pencil pusher on the planet. It still makes a stunning send-up today, especially in this HD DVD edition, and we can easily see how it influenced future films, like the nearly the same climactic visuals in “Contact.” For that matter, the total structure of “Contact” owes much to “2001,” a tribute to the older film’s continuing impact on storytelling and filmmaking.