Quick Blu Review: War of the Worlds (1953)

The 1950s will always be considered the golden age of science-fiction films. The Atomic Age and communist paranoia fueled both rabid interest in technology and white-knuckle fear of invasion in the decade after World War II and Hollywood took advantage, producing such classics as The Thing From Another World, The Day The Earth Stood Still, Forbidden Planet, Invasion of the Body Snatchers and 1953's War of the Worlds.

Based on H.G. Wells' 1897 novel, the George Pal-produced, Byron Haskin-directed War of the Worlds unfolds in a small Southern California hamlet where a large meteorite has come crashing down in the night sky. The streaking ball of fire attracts the attention of all in town and soon everyone has assembled at the point of impact, marveling at the molten rock's size, poking it with sticks and planning their strategy for exploiting the object that will surely prove a boon to the community. 

The local sheriff sends for atomic scientist Dr. Clayton Forrester (Gene Barry), who just happens to be on a fishing trip with colleagues at the nearby lake. Forrester marvels at the meteorite like everyone else & is soon invited to partake in the celebratory festivities by library science instructor Sylvia Van Buren (Anne Robinson). 

In the middle of the night, with townspeople standing guard, a hatch opens on the so-called "meteorite" and an alien weapon vaporizes three men standing nearby. Of course the military is called in and we learn similar objects have been reported across the globe. Soon the aliens begin a full-fledge assault on the town, laying waste to anything in their path, making their way toward Los Angeles.

Fast-paced at a svelte 85 minutes and photographed in Technicolor when most other sci-fi films of the era were shot in black and white, War of the Worlds was a huge hit with both audiences and critics alike in the fall of '53. It became the biggest sc-fi hit of the year and earned an Oscar for Best Visual Effects. 

Newly restored in 4K and released on Blu-ray by The Criterion Collection, War of the Words has never looked better on home video. The native 1.37:1 aspect ratio (widescreen would debut later in the year with Fox's The Robe) is crisp and full of rich colors, especially those menacing green "desk-lamp" alien war machines. There are a few noticeable black scratch lines that appear from time to time but they disappear quickly and don't detract from an otherwise stellar presentation.

The original monaural and newly struck 5.1 DTS-HD Master Audio soundtrack are both immersive and satisfying at minimal levels. 

As usual with Criterion, there are a slew of extras, including a 2005 audio commentary featuring filmmaker Joe Dante, new features on the restoration and visual effects and the original 1938 Mercury Theatre radio play featuring Orson Welles.

Overall, a very nice presentation for a film I've loved since childhood, one that will forever define both the science-fiction genre and the zeitgeist of the 1950s.

Happy Halloween!

Quick Blu Review: The Grey Fox (1982)

Robert Farnsworth has always been a favorite character actor of mine. I probably first saw the former stuntman with the gentle demeanor and dollar-size blue eyes as the cowhand Dodger in 1978's Comes A Horseman, a roll that garnered Farnsworth an Oscar nod for Best Supporting Actor. 

From there came came a stint as Wild Bill Hickok in 1981's The Legend of the Lone Ranger and memorable turns as Wilford Brimley's assistant coach Red in 1984's The Natural and the feisty sheriff Buster in 1990's Misery. And of course his final, Oscar-nominated role as Alvin Straight in 1999's The Straight Story. 

 I thought I'd seen every film worth seeing of Farnworth's but recently was reminded of one in theaters when I was a kid but never saw. That film was 1982's The Grey Fox.

Skillfully directed by Canadian filmmaker Phillip Borsos and beautifully photographed by Frank Tidy (The Duellists), The Grey Fox tells the real-life story of "Gentleman Bandit" Bill Miner (Farnsworth), a soft-spoken, well-mannered 19th-century stagecoach robber who after serving 33 years in San Quentin is released in 1901 to a radically changed world.

Miner heads to British Columbia for a fresh start and does his best to find his place in the new century, digging for oysters, hauling wood for a sawmill, but after catching a screening of The Great Train Robbery one night in town, is inspired to once again don his kerchief and Colt six-shooter and return to his old stick-up ways. 

Miner recruits a co-worker from the sawmill and the pair successfully rob a couple of trains before heading to a small town to to lie low for a few months. Now using the alias George Edwards, Miner becomes a respected member of the community and begins a relationship with feminist/photographer Katherine Flynn (Jackie Burroughs). But it isn't long before the law closes in and jeopardizes Miner's new life.

The Grey Fox is a well-crafted film, small and intimate, but ultimately lacking in satisfying narrative and characterization.While Farnsworth absolutely shines, things feels a bit too one-dimensional and unrealized, like a good portion of the story was left on the cutting room floor to achieve its 92-minute running time.

Newly restored in 4K and released on Blu-ray by Kino Lorber, The Grey Fox looks great in high-definition. The native 1.85:1 image is crisp and colors are rich and well defined while maintaining natural film grain. While I've never seen the film on any previous home-video formats, I'm betting this is the best the picture has looked in 38 years. 

The DTS-HD Master Audio 2.0 track sounds great and both dialog and Michael Conway Baker's score are clear and immersive at minimal levels. 

Extras include a commentary track by filmmaker Alex Cox, interviews with producer Peter O'Brien and composer Michael Conway Baker, a restoration feature and a theatrical re-release trailer.

The Grey Fox isn't a perfect film, but it is a worthwhile entry in an important actor's legacy, one that should be defined by the size of his heart rather than the size of the part.