"A VAST IMPROVEMENT OVER ANY PREVIOUS HOME VIDEO FORMAT"
Shout!/Scream Factory officially releases its new Collector's Edition Blu-ray of Brian De Palma's Carrie this Tuesday (those who pre-ordered weeks ago should already have their copies). According to High-Def Digest's Matthew Hartman, this is the best the film has ever looked in any home video format. The comparison frames at left come from Hartman's High-Def review."Going into this new 40th-anniversary release of Carrie," Hartman states, "I didn't have a lot of hope for the transfer. Even with a fresh 4K scan, I just never thought the appearance of the film would ever be drastically improved. Apparently, that 4K scan went a long way! While the film still has the dream-like contrast blooms and some softness, this new scan is a vast improvement over any previous home video format. For starters, fans of the film will notice a far more stable grain field. My first worry was that it was scrubbed clean with some DNR, but closer inspection shows that the grain is alive and well, just far more subtle. Detail levels are also given an impressive boost allowing hair, makeup, and some impressive prom dresses to show their finer points. It also appears that the previous transfer's use of edge enhancement hasn't been replicated as there aren't any notable instances of banding, haloing, or other compression artifacts. Colors are also timed a bit better now, reds appear a true red without the orange-pink tinge the previous release had. Primaries are natural with plenty of pop and flesh tones have a nice healthy look to them. Black levels can still be a bit crushed here and there, but when it counts most there is an improved sense of depth to the image. Brightness also looks like it has also been pulled back allowing for some deeper blacks and more natural color saturation. Damage appears to have also been cleaned up a bit, there are a few moments of speckling and some very fine scratches that have always been apparent in virtually every previous release, but now they're not nearly as intrusive or distracting. Some may find a few things to nitpick about this presentation, but in all honesty the benefits of this new scan should outweigh any perceived negatives. This is honestly the best I've ever seen this film in any home video format, it may not seem like much of a difference from the screen captures, but it's very noticeable in motion."
Below are Hartman's notes about this edition's new bonus features:
- Writing Carrie: (HD 29:07) This is a fascinating and interesting interview with screenwriter Lawrence Cohen. He covers a lot of ground here from receiving the initial manuscript from a new unknown writer named Stephen King. It's interesting to hear his reaction to the book but then also his approach to adapting it for the screen.- Shooting Carrie: (HD 15:22) An interview with Director of Photography Mario Tosi, this is a great interview, a little difficult to understand in places because of his limitations with English but he offers a lot of insight into the dream-like qualities of the visuals and De Palma's approach to the film.
- Cutting Carrie: (HD 25:09) Editor Paul Hirsch offers up a lot of terrific details about how the film came together in the editing room, finding the tone, pace, as well as cutting together the climax of the movie.
- Casting Carrie: (HD 16:03) Casting director Harriet B. Helberg talks about what it took to get the film cast and finding Sissy Spacek for the lead.
- More Acting Carrie: (HD 20:19) This is comprised of new, but sadly short interviews with Nancy Allen, Betty Buckley, William Katt, Piper Laurie, Edie McClurg, and P.J. Soles. While this is sadly short, it's fascinating. The best tidbit of note is George Lucas was casting 'Star Wars' and De Palma was casting 'Carrie' at the same time in the same room! So both films could have been completely different depending on what actor impressed either George or Brian at any given moment!
- Bucket of Blood: (HD 23:53) This is a very interesting interview with composer Pino Donaggio. He discusses his approach with De Palma, how they keyed in on that dreamy flute theme, as well as the four string progression that seems almost lifted from Hitchcock's 'Psycho.'
New Horror's Hallowed Grounds: (HD 11:25) Fans of Sean Clark's little segments will get a kick out of this. It's always cool to see familiar locations from movies and it's cool seeing that a lot of these places are still around.