Network [Blu-ray]

Product Information

Dialogue is very natural sounding and given directionality when required. The score makes full use of the speakers contributing to the immersive feel, while bass, not being the deepest nor the most prominent due to the nature of the film, is tight and controlled giving the low end some substance. Isn’t that Networks MO? put out those older fondly remembered titles where the target audience is smaller but willing to pay that big extra for something that has received some TLC. Comprises of 20 short/animated films from the Columbia Pictures library, presented in high definition: Network' comes to Blu-ray with a terrific 1080p/AVC MPEG-4 encode (1.85:1) that retains Owen Roizman's intentional look and feel. The photography commences rough and bleak, but as the story progresses, it seems to mature and appear more elegant. The high-def transfer displays this subtle development beautifully. The film opens with an average picture that would be acceptable for its age and period. Slowly, the fine details of hairs, clothes, and the random items which clutter network offices are sharply defined and distinct. Facial complexions are naturally textured and reveal every wrinkle in the actors' faces. A thin veil of grain washes over the image for an appreciable cinematic quality, and dimensionality improves along with the story.

As well as its four Oscars, Network was also garlanded with a quartet of Golden Globes, a BAFTA and numerous other awards. In the years since its release, its reputation has only grown: the Library of Congress granted it a place on their prestigious National Film Registry; the American Film Institute named it as one of the greatest American films of all time; and the Writers Guild of America declared its screenplay one of the ten best of all time. It remains a true classic. Feature Commentary by Director Sidney Lumet is perhaps a bit too quiet and sporadic for some, but it's thoughtful and provocative, just like the director. Booklet featuring an article by Barry Forshaw and a short story by Trevor Preston which tells how Frank Ross was arrested eight years prior to the series.Ruby Quartz Shades. Well, what would you prefer! Yellow spandex? Oh and Logan Stay Away From My Girl. Despite these aspects, which ultimately highlight the production context, The Owl Service is impressively rich in its themes and visual composition. As mentioned, there are clashes of class and culture, as well as generations and gender. Though often referenced, Alison’s mother Margaret never appears on screen, her significant absence is felt through artefacts that she leaves indicating her influence and everyone’s concern about her getting upset. Gwyn at one point corners Alison in a summer house in a frankly creepy and unsettling sequence. Roger and Gwyn are both seen weeping but in different situations – Roger alone in a corner but surrounded by images of his father; Gwyn on the stairs of the house which prompts Roger’s contempt. Even flower power gets a reference, indicating the cultural upheavals that might seem distant but are nonetheless felt. Description: John Alderton stars as a progressive teacher in charge of a classful of unruly pupils in the feature film version of one of television's all-time-great sitcoms! Created by comedy giants John Esmonde and Bob Larbey – and co-starring the complete line-up of classic characters from the TV series – Please Sir! is featured here as a brand-new High Definition remaster from original film elements in its original theatrical aspect ratio. Is that Pong? Cos it looks like Pong. You know Pong has already been invented, right? So, you're just gonna steal the idea and make it better? But, it's Pong .... The extras also include a photo gallery of the show’s production and commentaries on some of the episodes by writer and broadcaster Tim Worthington. Though not connected with the show (and by his own admission, not born at the time of its release), Worthington’s enthusiasm and knowledge of the show is palpable and infectious. He discusses such aspects as the design of the title sequence; the ‘care and attention’ paid to the visual composition; why the show is ‘important’; and compares his commentary to others and his wish to be different and informative. For the most part, he succeeds, much as The Owl Service itself mostly succeeds as an evocative, atmospheric and intriguing drama, one that offers plenty to enjoy for modern audiences just as it did for those over fifty years ago.

The disc presents an up-scaled 3840 x 2160p resolution image with widescreen 2.39:1 aspect ratio, and uses 10-bit video depth, High Dynamic Range, a Wide Colour Gamut (WCG) and is encoded using the HEVC (H.265) codec for Dolby Vision and HRD10. Interview (SD, 14 min) — This vintage segment from the TV show 'Dinah!' shows an interview with Paddy Chayefsky by Dinah Shore. It's an interesting discussion about writing the script, his inspirations and intentions.Keep meaning to get hold of Space Patrol, I got though Fireball by going to bed extra early and getting an episode done a night on a 19 inch portable just the right way to watch them.

Notable guest stars over the series’ run included Christopher Lee, Joan Collins, Peter Cushing, Ian McShane ( Deadwood, American Gods), Sarah Douglas ( Superman II), David Prowse ( Star Wars), Brian Blessed ( Flash Gordon), Angus MacInnes ( Star Wars, Rogue One), and many others. For more about Network and the Network Blu-ray release, see Network Blu-ray Review published by Jeffrey Kauffman on February 15, 2011 where this Blu-ray release scored 4.0 out of 5. Indeed I bought the DVD of Fireball and never got to the end of it and it's a lot better than Supercar. I have a couple of episodes of Supercar on a compilation disc so I have seen it recently. Those few episodes will do me. On a similar note I think the Roberta Leigh series Space Patrol was better than Fireball and I didn't get to the end of my Blu Ray of that either. Though I got a lot through more of them than I did with Fireball.Behind the Story (SD, 85 min) — This six-part anniversary retrospect is easily the centerpiece of the entire collection, covering all the major aspects of the film. The documentary commences with interviews of producer Howard Gottfried and director Sidney Lumet about Paddy Chayefsky's script, influences and origins, and how Lumet became involved ("The World and Words of Paddy Chayefsky"). This is followed by a look at casting and the characters, where Faye Dunaway, Ned Beatty, Kathy Cronkite and Lance Henriksen do most of the talking ("The Cast, The Characters").