Diary of a Chambermaid – Kino Lorber (Blu-ray)

Theatrical Release Date: France/Italy, 1964
Director: Luis Buñuel
Writers: Luis Buñuel, Jean-Claude Carrière
Cast: Jeanne Moreau, Georges Géret, Daniel Ivernel, Françoise Lugagne, Jean Ozenne, Michel Piccoli

Release Date: March 25th, 2025
Approximate Running Time: 97 Minutes 33 seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono French
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"An exquisitely enigmatic Jeanne Moreau (The Bride Wore Black) is the chambermaid Célestine, who takes a position with a decadent family on a pre-WWII Normandy estate and finds herself in the middle of a hotbed of hypocrisy and perversion. The old man has a foot fetish, his daughter is a frigid hysteric, her husband a dissolute rake, the gamekeeper a racist and sadist, while the fascist neighbor compulsively throws his garbage on their property. When a child is raped and murdered, Célestine becomes obsessed with discovering and exposing the killer, even though she finds herself attracted to him." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "2K Restoration by StudioCanal".

Diary of a Chambermaid comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.5 GB

Feature: 29.6 GB

The source looks excellent; image clarity, contrast, black levels, and compression are solid, and the image looks organic.

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in French with removable English subtitles. The audio sounds clean, clear, and balanced, and range-wise ambient sounds are well represented.

Extras:

Extras for this release include a theatrical trailer (3 minutes 34 seconds, DTS-HD mono French with non-removable English subtitles), a Q&A with screenwriter Jean-Claude Carrière (51 minutes 53 seconds, Dolby Digital stereo English, no subtitles), an interview with Jean-Claude Carrière (24 minutes 42 seconds, Dolby Digital stereo English, no subtitles), a featurette titled An Angel in the Marshes (27 minutes 6 seconds, Dolby Digital stereo French with non-removable English subtitles), an audio commentary with film historian Imogen Sara Smith, reversible cover art, and a slipcover (limited to the first pressing).

Other extras include trailers for Hi-Jack Highway (Gas-oil), Back to the Wall, Les liaisons dangereuses, The Train, Viva Maria!, The Bride Wore Black, and Monte Walsh.

Summary:

Diary of a Chambermaid was directed by Luis Buñuel, a Spanish filmmaker who made most of his films in France and Mexico. Notable films he directed include L'Âge d'Or, The Exterminating Angel, Belle de jour, and The Discreet Charm of the Bourgeoisie.

A chambermaid from Paris goes to work for an affluent, eccentric family who lived in the countryside.

Although Diary of a Chambermaid does not have the surreal flourishes that are synonymous with Luis Buñuel's post-1950s films, it does have elements and subject matter he would often return to, like classism, fascism, subversive humor, and deviant behavior. The latter half of the narrative takes on a dark turn after a little girl is raped and murdered by someone in the woods.

The narrative revolves around a chambermaid named Célestine who's been hired by an affluent family to take care of Monsieur Rabour, its elderly patriarch. Monsieur Rabour immediately becomes fond of her; like all of his previous chambermaids, he insists on calling her Marie. His daughter, Madame Monteil, runs the household with an iron fist and is constantly worried that any of the valuables will be damaged by the help. Madame Monteil is married to a philanderer who's forced to find affection elsewhere due to her dyspareunia. Rounding out this colorful cast of characters is Joseph, a gamekeeper who is consumed by nationalism in the wake of a demographic change in France.

All around, the entire cast are superb in their roles, especially Jeanne Moreau (The Bride Wore Black), who portrays Célestine. It is her character that takes us on the story that unfolds, and she delivers a performance that perfectly offsets the rest of the cast, who portray expressive characters. That said, there is a playfulness in most of her characters interactions, and these moments are among the best. Notably, scenes between Célestine and Monsieur Rabour, who has a fetish for women’s boots. Another cast member of note is Michel Piccoli (Contempt); he portrays Madame Monteil’s husband.

Diary of a Chambermaid is the first and only time Luis Buñuel shot a film in a 2.35:1 aspect ratio. He does a phenomenal job maximizing the frame, creating visually arresting moments that heighten the mood. Diary of a Chambermaid would mark the only time cinematographer Roger Fellous worked with Luis Buñuel. He is most known for his collaborations with Max Pecas and a pair of films directed by Claude Mulot: The Blood Rose and La saignée.

Diary of a Chambermaid is a film that quickly draws you in, holds your attention, and keeps you guessing. The premise is well-executed, and the narrative does an excellent job building momentum to an exemplary finale. Another strength of Diary of a Chambermaid is how effectively it employs sound in place of a traditional score. Ultimately, despite delving into some darker themes, Diary of a Chambermaid is an engaging film that’s anchored by Jeanne Moreau’s performance.

Diary of a Chambermaid gets an excellent release from Kino Lorber that comes with a solid audio/video presentation and a wealth of insightful extras; highly recommended.

Written by Michael Den Boer

Being There—The Criterion Collection (Blu-ray)

Theatrical Release Date: USA, 1979
Director: Hal Ashby
Writers: Jerzy Kosinski, Robert C. Jones
Cast: Peter Sellers, Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard Dysart, Richard Basehart, Ruth Attaway, David Clennon, Fran Brill, Denise DuBarry

Release Date: March 21st, 2017
Approximate Running Time: 130 Minutes 12 seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: PG
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $39.95

"In one of his most finely tuned performances, Peter Sellers plays the pure-hearted, childlike Chance, a gardener who is forced into the wilds of Washington, D.C., when his wealthy guardian dies. Shocked to discover that the real world doesn’t respond to the click of a remote, Chance stumbles into celebrity after being taken under the wing of a tycoon (Melvyn Douglas, in an Oscar-winning performance), who mistakes his protégé’s horticultural mumblings for sagacious pronouncements on life and politics, and whose wife (Shirley MacLaine) targets Chance as the object of her desire." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "This new digital transfer was created in 4K resolution on a Lasergraphics Director film scanner from the 35mm original camera negative at Motion Picture Imaging in Burbank, California, and color graded under the supervision of cinematographer Caleb Deschanel. Thousands of instances of dirt, debris, scratches, splices, and warps were manually removed using MTI Film's DRS, while Digital Vision's Phoenix was used for jitter, flicker, small dirt, grain, and noise management."

Being There comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.7 GB

Feature: 28.9 GB

The source looks excellent; it is a substantial improvement over Warner Brothers 2009 release. Flesh tones look healthy, colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio sounds excellent; dialogue always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds appropriately robust.

Extras:

Extras for this release include a theatrical trailer and TV spots (2 minutes 50 seconds, Dolby Digital mono English, no subtitles), a promo reel featuring actor Peter Sellers and director Hal Ashby (2 minutes 51 seconds, Dolby Digital mono English, no subtitles), two deleted scenes: Kids Playing Basketball (2 minutes, Dolby Digital mono English, no subtitles) and Bedroom (50 seconds, Dolby Digital mono English, no subtitles), an alternate ending (2 minutes 4 seconds, Dolby Digital mono English, no subtitles), outtakes (3 minutes 25 seconds, Dolby Digital mono English, no subtitles), Peter Sellers two television interviews: NBC’s Today (10 minutes 31 seconds, Dolby Digital mono English, no subtitles) and The Don Lane Show (11 minutes 55 seconds, Dolby Digital mono English, no subtitles), author Jerzy Kosinski in a 1979 appearance on The Dick Cavett Show (19 minutes 32 seconds, Dolby Digital mono English, no subtitles), an audio excerpts from a 1980 American Film Institute seminar with Hal Ashby (32 minutes 54 seconds, Dolby Digital mono English, no subtitles), a documentary The Making of Being There, featuring comments by producer Andrew Braunsberg, screenwriter/editor Robert C. Jones, cinematographer Caleb Deschanel, and editor Don Zimmerman (47 minutes 39 seconds, Dolby Digital mono English, no subtitles), and a 12-page leaflet with an essay titled American Cipher written by Mark Harris, cast & crew information, and information about the transfer.

Summary:

Hal Ashby directed Being There. He’s known for Harold and Maude, The Last Detail, Shampoo, and Coming Home.

A simple-minded man who has never left his home is compelled to leave following the death of his employer, the man who has cared for him.

Though Peter Sellers would appear in two more films after Being There, The Fiendish Plot of Dr. Fu Manchu and Trail of the Pink Panther were released posthumously. That said, it is fitting that Being There was the final film released during Peter Seller's lifetime.

When I think of Peter Sellers, the first thing that comes to mind is his remarkable versatility as an actor. Over the course of his career, he portrayed a diverse range of characters, often taking on multiple roles within a single film. In Being There, he portrays a character named Chance the Gardener, who outwardly is a middle-aged man, while inwardly he’s an adolescent boy. Though this character provides Peter Sellers with a chance to showcase his comedic talents, most of the humor does not stem from his typical antics. Instead, the humor comes from how other characters interact with Chance, who reacts to every situation with an expressionless demeanor.

Peter Sellers is in top form; he delivers another exemplary performance in which there is never a false beat. Throughout his career, Peter Sellers has portrayed countless iconic characters. Chance is obsessed with television, and he often mimics what he sees. Chance is arguably one of his finest roles, and it is difficult to envision anyone else in this part. That said, he did receive an Academy Award nomination for his performance as Chance.

Though Peter Sellers is the main attraction, he is surrounded by an exceptional cast whose performances are all pitch-perfect. Another performance of note is Shirley MacLaine (The Apartment), who portrays Eve, the wife of an elderly businessman. Her character’s interactions with Chance provide the funniest moments, and her onscreen chemistry with Peter Sellers is off the charts. Other notable cast members are Melvyn Douglas (Hud) in the role of Eve’s husband and Jack Warden (Heaven Can’t Wait) in the role of the President.

Hal Ashby’s solid direction gives the cast the freedom to excel in their roles. There are a few standout moments visually, despite Being There being a character-driven film. The scene where Chance ventures outside for the first time into an unknown world is his most inspired moment. Chance is like an alien from another planet as he explores things for the first time. This moment is enhanced by the addition of Richard Strauss’ Also Sprach Zarathustra.

From a production standpoint, there is no area where Being There does not excel. The premise is flawlessly executed, the narrative is briskly paced, and everything builds to a superbly realized coda. The dialog is laced with humor, like this exchange: “Have you ever had sex with a man?” and Chance replies, “No, I don’t think so.” There are an ample number of humorous comedic pieces; two notable ones are a scene where Chance asks a Black man if he knows someone named Jerome and a scene where Eve tries to seduce Chance, who informs her that he “likes to watch.” Ultimately, Being There is a poignant film that is as thought-provoking as it is humorous.

Being There gets an excellent release from The Criterion Collection that comes with a solid audio/video presentation and informative extras, highly recommended.

 

Written by Michael Den Boer

One-Eyed Jacks – The Criterion Collection (Blu-ray)

Theatrical Release Date: USA, 1961
Director: Marlon Brando
Writers: Guy Trosper, Calder Willingham
Cast: Marlon Brando, Karl Malden, Katy Jurado, Ben Johnson, Slim Pickens, Larry Duran, Sam Gilman, Timothy Carey, Miriam Colon, Elisha Cook Jr.

Release Date: November 22nd, 2016
Approximate Running Time: 140 Minutes 23 seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $39.95

"In his only directing stint, Brando captures rugged coastal and desert landscapes in gorgeous widescreen, Technicolor images, and elicits from his fellow actors (including Karl Malden and Pina Pellicer) nuanced depictions of conflicted characters." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Undertaken by Universal Studios in collaboration with The Film Foundation, this new restoration was created from the original 35mm, 8-perforation Vista Vision negative and the 35mm Y-layer separation master (to recover faded blue). These film elements were scanned, using pin registration, at 6K resolution on a Northlight film scanner. Restoration work then proceeded at 4K resolution. The negative and Y-layer files were digitally recombined using 3D image manipulation tools. The film elements were configured for A/B printing, so all transitions, such as fades and dissolves, were recreated to conform to the theatrical cut of the film. Dirt and damage removal was accomplished with a host of digital tools, including MTI Film's Nova, Digital Vision's Phoenix, HS-Art's Diamant, and Autodesk's Flame."

One-Eyed Jacks comes on a 50 GB dual layer Blu-ray.

Disc Size: 43 GB

Feature: 33 GB

This release gives One-Eyed Jacks its first restoration on home media; all previous public domain releases came from less than stellar sources. That said, the sources look excellent; it is a vast improvement in every way. Flesh tones look correct, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image looks organic.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio sounds excellent; it is clean, clear, balanced, and robust when it should be.

Extras:

Extras for this release include a theatrical trailer (4 minutes 44 seconds, Dolby Digital mono English, no subtitles), an introduction by filmmaker Martin Scorsese (2 minutes 55 seconds, Dolby Digital mono English, no subtitles), excerpts from voice recordings director and star Marlon Brando made during the development of the film’s script (33 minutes 38 seconds, Dolby Digital mono English, no subtitles), a video essay by blogger Toby Roan titled A Million Feet of Film (23 minutes 9 seconds, Dolby Digital mono English, no subtitles), a video essay by film critic David Cairns titled I Ain’t Hung Yet (24 minutes 2 seconds, Dolby Digital mono English, no subtitles), and a 12-page leaflet with an essay titled Zen Nihilism written by Howard Hampton, cast & crew information, and information about the transfer.

Summary:

A bank robber seeks revenge against his partner who betrayed him.

“You may be a one-eyed jack around here, but I've seen the other side of your face.” – Rio

Although many actors have ventured into directing, One-Eyed Jacks represents Marlon Brando's one and only attempt. He is widely regarded as one of cinema’s greatest actors, so it is not surprising that his directing style greatly complements actors. His creative process on One-Eyed Jacks encouraged actors to improvise and explore moments that extended beyond the script. That said, Marlon Brando’s original version of One-Eyed Jacks is said to have been five hours long before Paramount took control and recut it to its current length of 2 hours and 21 minutes.

One-Eyed Jacks screenplay would have a few notable people work on it before what ended up onscreen: Rod Sterling (The Twilight Zone) wrote the first draft, and Sam Peckinpah (The Wild Bunch) was brought in to do a rewrite. Another notable person connected to One-Eyed Jacks was Stanley Kubrick (A Clockwork Orange); he was the original director before being replaced by Marlon Brando.

Marlon Brando made a career out of playing complex and emotionally charged characters like Terry Malloy in On the Waterfront and Don Vito Corleone in The Godfather. He delivers another brooding performance in One-Eyed Jacks in the role of Rio. There is an intensity and calmness about Rio that he balances throughout. You either get two performances from Marlon Brando: one where he is fully engaged or one where he phones it in. His performances in One-Eyed Jacks fall into the former category.

For a first-time director, Marlon Brando puts together an exemplary cast who all bring their A game. The most prominent cast member is Karl Malden, who worked with Marlon Brando twice before, in A Streetcar Named Desire and On the Waterfront. He portrays Dad Longworth, Rio’s partner who betrayed him, kept the gold they stole, and started a new life as a sheriff in Monterey. The supporting cast is filled with recognizable faces: Ben Johnson (The Getaway), Slim Pickens (Blazing Saddles), Elisha Cook Jr. (The Maltese Falcon), and Timothy Carey (The Killing).

One-Eyed Jacks opens with a bank robbery scene that does a superb job introducing characters and setting the tone for what follows. Despite its many rewrites, the narrative is surprisingly cohesive; it never feels disjointed. Another strength of the narrative is how effectively it builds and sustains tension, which builds to a very satisfying finale. That said, the narrative always holds your attention, and there are no throwaway moments.

When discussing One-Eyed Jacks, one must not overlook cinematographer Charles Lang’s (Some Like It Hot) contributions; his work would garner him an Academy Award. One-Eyed Jacks is a beautifully photographed film that takes full advantage of its picturesque locations, notably the ocean view shots in Monterey. Two visually striking moments include the scene in which wind and dust envelop Rio while he is surrounded by the Rurales, as well as the moment when Dad brutally whips Rio. Ultimately, One-Eyed Jacks is an extraordinary film that should be held in higher regard.

One-Eyed Jacks gets an excellent release from The Criterion Collection that comes with a solid audio/video presentation and informative extras, highly recommended.

 

Written by Michael Den Boer

Thief – The Criterion Collection (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1981
Director: Michael Mann
Writer: Michael Mann
Cast: James Caan, Tuesday Weld, Willie Nelson, Jim Belushi, Robert Prosky, Tom Signorelli, Dennis Farina, William Petersen

Release Date: March 11th, 2025
Approximate Running Time: 124 Minutes 52 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (4K UHD), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Blu-ray)
Rating: R
Sound: DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $49.95

"The contemporary American auteur Michael Mann’s bold artistic sensibility was already fully formed when he burst out of the gate with Thief, his debut feature. James Caan stars, in one of his most riveting performances, as a no-nonsense ex-con professional thief planning to leave the criminal world behind after one last score—but he discovers that escape is not as simple as he’d hoped." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about this release's transfer, "Thief is presented in the aspect ratio of 1.85:1. Supervised and approved by director Michael Mann, the new 4K restoration presented on the 4K Ultra HD disc was created from the 35mm original camera negative. The additional Willie Dixon fisherman scene was taken from a 35mm internegative made from a 35mm print."

Thief comes on a 100 GB triple layer 4K UHD.

Disc Size: 87.6 GB

Feature: 85.4 GB

The source looks excellent; flesh tones look correct, color saturation, image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

Thief comes on a 50 GB dual layer Blu-ray.

Disc Size: 40.7 GB

Feature: 33 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 5/5

This release comes with one audio option, a DTS-HD 5.1 mix in English with removable English SDH. The audio sounds excellent; dialogue comes through clearly, everything sounds balanced, ambient sounds are well represented, and Tangerine Dream’s score sounds appropriately robust.

Extras:

Extras on the 4K UHD disc include an archival audio commentary with director Michael Mann and actor James Caan.

Extras on the Blu-ray disc include a theatrical trailer (1 minute 53 seconds, Dolby Digital mono English, no subtitles), an interview with Johannes Schmoelling of the band Tangerine Dream, which contributed the film’s soundtrack (15 minutes 40 seconds, Dolby Digital stereo German with removable English subtitles), an interview with James Caan titled Making Something Reel (10 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an interview with Michael Mann titled Truth-Telling Style (24 minutes 18 seconds, Dolby Digital stereo English, no subtitles), and an archival audio commentary with Michael Mann and James Caan.

Other extras include a 10-page leaflet with an essay titled Where Nothing Means Nothing written by Nick James, cast & crew information, and information about the transfer.

Summary:

Frank, a career criminal with a skill for breaking into safes, particularly those containing high-profile diamond jobs, has grown weary of his current lifestyle. And after several years of pulling off similar heists and serving one long term in prison, he finally decides that he wants to lead a normal life that would include a wife and kids. From there he sets a financial goal that he needs if he ever wants to see his dreams of being a family man come true. Now with a firm idea of what he needs to do, Frank suddenly finds himself at a crossroads. He can go on working like he has been, or he could go for the much larger score that he is being offered by a gangster that wants Frank to work for him.

In the 1980s, Michael Mann was primarily recognized for his work in television, producing shows like Crime Story and Miami Vice. The latter, in particular, showcases many stylistic choices that have since become synonymous with Michael Mann. Though his more recent films have prompted a reexamination of his three theatrical feature films from the 1980s, there was a time when those three films were not well received. Out of Mann’s theatrical output from the 1980s, no film has benefited more from said reappraisals than Mann’s feature film debut, the neo-noir thriller Thief.

Thief was adapted from a novel titled The Home Invaders: Confessions of a Cat Burglar, authored by John Allen Seybold, a jewel thief who wrote under the pseudonym Frank Hohimer. Michael Mann is a director who is known for wanting realism in his films, and for Thief, he would hire John Allen Seybold as a consultant. Another way that Thief instantly grabs you and pulls you in is that it takes place at real locations throughout Chicago.

The narrative is tightly constructed with a great amount of detail paid to the safe-cracking sequences. Thief is populated with well-defined characters, and their motivations are crystal clear. Also, there is an intensity that is established in the opening moments, and this firmly sets the tone for the rest of the film. When it comes to pacing, things move along at a brisk pace that is in step with the protagonist's need to keep moving forward to his ultimate goal.

Thief would mark cinematographer Donald E. Thorin’s (An Officer and a Gentleman, Tango & Cash) only collaboration with Michael Mann. The visuals are a textbook example of how a neo-noir should look. Whether it be the striking use of colors like red and blue or other subtleties that heightened the mood, there is never a moment where Thief does not look exquisite. The score for Thief was composed by Tangerine Dream, whose other notable film scores include Sorcerer, Risky Business, Legend, and The Keep, which was also directed by Mann. Their pulsing synthesized score does a remarkable job reinforcing the mood.

As excellent as all of the performances are, it is James Caan’s (The Godfather) portrayal of a jewel thief named Frank that stands out. He totally immerses himself in the character, and by the time the film ends, it is impossible to think of another actor who could have brought more to the role. That said, he delivers what is arguably the defining performance of his career. Other performances of note include Tuesday Weld (Looking for Mr. Goodbar) in the role of Jessie, Frank’s girlfriend/wife, and James Belushi (The Principal) in the role of Barry, Frank’s partner in crime. Cast members of note include Dennis Farina and William Petersen; these two actors would reunite with Michael Mann for Manhunter. Ultimately, Thief is a captivating crime drama that revolutionized the genre and had a significant impact on crime cinema in the 1980s.

Thief gets an excellent release from The Criterion Collection that comes with a solid audio/video presentation and insightful extras, highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

 

Written by Michael Den Boer

Nothing is Sacred: Three Heresies by Luis Buñuel: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Dates: Mexico/Spain, 1961 (Viridiana), Mexico, 1962 (The Exterminating Angel), Mexico, 1965 (Simon of the Desert)
Director: Luis Buñuel (All Films)
Cast: Silvia Pinal, Francisco Rabal, Fernando Rey, José Calvo, Margarita Lozano, José Manuel Martín, Victoria Zinny, Luis Heredia, Joaquín Roa, Lola Gaos, María Isbert, Teresa Rabal (Viridiana), Silvia Pinal, Jacqueline Andere, José Baviera, Augusto Benedico, Luis Beristáin, Antonio Bravo, Claudio Brook, César del Campo, Rosa Elena Durgel, Lucy Gallardo, Enrique García Álvarez, Ofelia Guilmáin, Nadia Haro Oliva (The Exterminating Angel), Claudio Brook, Enrique Álvarez Félix, Hortensia Santoveña, Francisco Reiguera, Luis Aceves Castañeda, Enrique García Álvarez, Antonio Bravo, Enrique del Castillo, Eduardo MacGregor, Silvia Pinal (Simon of the Desert)

Release Date: July 1st, 2024 (UK)
Approximate Running Times: 90 Minutes 57 Seconds (Viridiana), 92 Minutes 55 Seconds (The Exterminating Angel), 45 Minutes 8 Seconds (Simon of the Desert)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Viridiana), 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (The Exterminating Angel, Simon of the Desert)
Rating: 12,15 (UK)
Sound: LPCM Mono Spanish (All Films)
Subtitles: English (All Films)
Region Coding: Region Free
Retail Price: £37.49 (UK)

"From 1946 to 1965, Luis Buñuel directed 21 films in Mexico, the country that became his naturalised home. Towards the end of this period, the great master of surrealism would meet two of his most important collaborators - the husband-and-wife duo of producer Gustavo Alatriste and actress Silvia Pinal - and together they would create three of his most provocative and enduring works: Viridiana (1961), The Exterminating Angel (1962) and Simon of the Desert (1965). Presented here in new restorations, all three films are frequently hailed as some of the greatest of all time. All of what makes Buñuel one of the greatest of directors can be found within them: the startling imagery, the uncompromising surrealism, the wicked humour, the unapologetic eroticism, and the overwhelming disdain for contemporary boundaries of good taste. 

In Viridiana, Pinal stars as a former nun who, believing she has been defiled by a relative, abandons nunhood and attempts to repent and lead a morally pure existence by turning a mansion into a shelter for vagrants. Hugely controversial on release, this brilliant satire remains shocking today,  and was voted the best Spanish film of all time by Spanish critics in 2016.

The Exterminating Angel is one of Buñuel's most extraordinary and enduring works: after a night at the opera, a group of bourgeois party guests realise that they are inexplicably unable to leave the dining room they are sequestered in, and quickly descend into savagery. An influential blend of horror, comedy, drama and social commentary, the film was named one of the 200 greatest of all time in the 2022 Sight and Sound Critics Poll. 

Simon of the Desert is a typically outrageous and provocative commentary on organised religion: a parable of Simon, the would-be saint who lives an ascetic life at the top of a ten foot pillar, the film features a memorable turn from Pinal as the Devil, and an unforgettably bizarre ending." - synopsis provided by the distributor

Video: 4.25/5 (Viridiana, Simon of the Desert), 4/5 (The Exterminating Angel)

Here’s the information provided about this release's transfers, "Viridiana and Simon of the Desert were scanned in 4K from the original camera negatives and restored in 4K by Mercury Films in Madrid, Spain. Additional color correction was applied to Viridiana by Radiance Films in 2024.

The Exterminating Angel was scanned in 4K from the original camera negative by Mercury Films in Madrid, Spain. The film was restored by Radiance Films at Heavenly Movie Corp in 2024. Thousands of instances of dirt, dust, stains and tears were removed and dozens of shots stabilized to accentuate mechanical jiter. The film was grade by Stephen C. Horne."

Viridiana comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.5 GB

Feature: 24.5 GB

The Exterminating Angel comes on a 50 GB dual layer Blu-ray.

Disc Size: 40.3 GB

Feature: 27 GB

Simon of the Desert comes on a 50 GB dual layer Blu-ray.

Disc Size: 41 GB

Feature: 19.1 GB

The sources for these three films are comparable; they are all in excellent shape, free of any debris. Image clarity and compression are solid, contrast and black levels are strong, and there are no issues with digital noise reduction.

Audio: 3.75/5 (Viridiana), 4/5 (The Exterminating Angel, Simon of the Desert)

Each film comes with one audio option, a LPCM mono mix in Spanish with removable English subtitles. Viridiana has some background hiss; the other two films are free of hiss. Dialog always comes through clearly, everything sounds balanced, and ambient sounds are well-represented. That said, range-wise these audio tracks are best described as satisfactory.

Extras:

Extras for Viridiana include an image gallery (16 images - posters/stills), an introduction by filmmaker Anthony Wall (9 minutes 50 seconds, Dolby Digital stereo English, no subtitles), an appreciation by filmmaker Lulu Wang (10 minutes 56 seconds, Dolby Digital stereo English, no subtitles), an interview with Buñuel from 1964 recorded for French TV’s Cinéastes de notre temps (47 minutes 46 seconds, Dolby Digital mono French with removable English subtitles), The Life and Times of Don Luis Buñuel - A BBC Arena documentary on Buñuel featuring contributions from Buñuel and collaborators including Catherine Deneuve (101 minutes 17 seconds, Dolby Digital mono English and Spanish with non-removable English subtitles), and an audio commentary by film critic Michael Brooke.

Extras for The Exterminating Angel include an image gallery (10 images - stills), a video essay on The Exterminating Angel and the dinner party on film by critic and writer Alexandra Heller-Nicholas titled Dinner and Other Rituals (16 minutes 52 seconds, LPCM stereo English, no subtitles), an introduction by filmmaker Alex Cox (9 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an appreciation by filmmaker Guillermo del Toro (18 minutes 55 seconds, Dolby Digital stereo English, no subtitles), an archival documentary titled A Mexican Buñuel, this extra explore Luis Buñuel’s Mexican period (55 minutes 45 seconds, Dolby Digital stereo English, French, and Spanish with removable English subtitles).

Extras for The Exterminating Angel include an image gallery (12 images - stills/poster), a video essay on Luis Buñuel in Mexico by Abraham Castillo Flores titled The Other Trinity: Alatriste, Buñuel and Pinal (32 minutes 35 seconds, Dolby Digital stereo English, no subtitles), an appreciation by filmmaker Richard Ayoade (14 minutes 55 seconds, Dolby Digital stereo English, no subtitles), and an archival career-spanning documentary titled Buñuel: A Surrealist Filmmaker (87 minutes 8 seconds, Dolby Digital stereo Spanish with removable English subtitles). 

Other extras include reversible cover art, a rigid box with full-height Scanavo cases and removable OBI strip leaving packaging free of certificates and markings, and an 80-page booklet with cast & crew information for each film, an essay titled The Enduring Termite Art of Luis Buñuel in Mexico written by Glenn Kenny, extract from The Guildford and Godalming Examiner, an essay titled A World That Cannot be Saved: Buñuel, Spain, Blasphemy, and Satire written by David Hering, an essay titled Slicing up Eyeballs: The Horror of Luis Buñuel written by Lindsay Hallam, an essay titled Love Above All Else: Luis Buñuel’s Amour Fou written by Justine Smith, Letter to Luis Miguel Dominguín written by Luis Buñuel, an archival essay titled The Disappearance of Viridiana written by Pere Portabella, and information about the transfers.

Summary:

Viridiana: Before taking her vows to be a nun, a young woman visits her reclusive uncle, who paid for her education.

Viridiana is the first of three films that Luis Buñuel made with actress Silvia Pinal and producer Gustavo Alatriste. Some of the themes explored in Viridiana are religion, classism, lust, envy, guilt, and mortality. Luis Buñuel approaches his subject matter with his usual subversive humor; it is laced with social commentary. The cinema of Luis Buñuel has often delved into taboo subjects, and in Viridiana, the protagonist, who looks like her deceased aunt, is nearly raped by her uncle while she’s wearing her aunt’s wedding dress.

The opening setup is flawlessly executed; it does a phenomenal job fleshing out the protagonist and laying the foundation for her journey. Things take an abrupt turn after her uncle's suicide, connected to his guilt for what he almost did to his niece. This traumatic event leaves a deep scar on the protagonist, leading her to abandon her plans of becoming a nun. Instead, she dedicates her life and her uncle's wealth to helping the less fortunate. Despite her pure intentions and kind heart, those she seeks to assist often exploit her generosity.

All around, the entire cast are excellent, especially Silvia Pinal in the role of Viridiana. She delivers a remarkable performance that exudes empathy, and it is arguably her best performance. Other performances of note are Fernando Rey (The French Connection), who portrays Viridiana’s uncle, and Francisco Rabal (Sorcerer), who portrays Viridiana’s uncle’s illegitimate son. Both of these characters' lives are driven by sinful behavior.

Not to be overlooked when discussing Viridiana are its visuals, which are overflowing with striking moments like Viridiana wearing her aunt’s wedding dress, her uncle’s body hanging from a tree, and a Last Supper-like sequence where the poor take advantage of Viridiana’s kindness and ransack her uncle’s home. Music also plays a significant role; classical music like George Frideric Handel's Hallelujah Chorus, Wolfgang Amadeus Mozart's Requiem, Johann Sebastian Bach's Mass in B Minor, and Sarabande helps heighten the mood. Ultimately, Viridiana serves as a profound exploration of the human condition, rich with symbolism.

The Exterminating Angel: Guests at an affluent dinner party linger instead of going home, and when anyone tries to leave, that person cannot cross the threshold.

A recurring subject of the cinema of Luis Buñuel is the bourgeoisie; they are a character that would dominate his films from the 1960s onward. The bourgeois partygoers in The Exterminating Angel attend a feast that ultimately never ends. They live an isolated life confined to other like-minded wealthy people, and when they are unable to choose their destiny, their worst qualities come to the forefront.

The opening setup foreshadows events to come, yet there is a mundane quality to these initial moments. This stands in stark contrast to the moments that follow the partygoers' realization that they are trapped. By opening in such a way, it greatly enhances these darker moments by heightening the mood. That said, when their moment of truth arrives, it is all the more potent because of the way in which the narrative builds to it.

No one performance stands out; the entire cast is excellent. The cast is truly an ensemble in which no character is greater, and together they are a sum of parts. Silvia Pinal, who had a much larger role in Viridiana, portrays one of the party guests, an opera singer named Leticia. Another cast member of note is Claudio Brook; he portrays the head servant. He would go on to star in Luis Buñuel’s next film, Simon of the Desert.

Despite being billed as a melodrama with fantasy elements, a real case can be made for labeling The Exterminating Angel. A key ingredient to horror cinema is the unknown, a force or an entity that is not easily explained or disposed of, and in The Exterminating Angel, characters are faced with an invisible barrier that prevents them from leaving or crossing it. That said, all of the horror in The Exterminating Angel comes from the characters fears.

The premise is superbly executed; the narrative does an excellent job building to an ending that perfectly summarizes what preceded. The Exterminating Angel is dialog-driven, and though the visuals let the characters take center stage, there are several arresting moments. Other areas where The Exterminating Angel excels are its use of sound and editing; there are 27 moments of repetition. Ultimately, The Exterminating Angel is an exceptional surrealist fantasy that's overflowing with subversive humor and social commentary.

Simon of the Desert: A deeply religious man who wants to be nearer to God climbs a column and remains there. He is visited by monks, peasants, an affluent family, and the devil in various disguises while standing on the column.

Simon of the Desert would mark Luis Buñuel’s third and final collaboration with Silvia Pinal and Gustavo Alatriste. Simon of the Desert was originally intended to be an anthology film with three stories by three directors; the only story completed was Luis Buñuel’s Simon of the Desert. Other directors approached to be part of this anthology film include Federico Fellini, Jules Dassin, Vittorio de Sica, and Orson Welles. The inspiration for Simon of the Desert is the life of the ascetic 5th-century Syrian saint Simeon Stylites, who lived for 39 years on top of a pillar.

Despite its brevity (45 minutes in length) and minimalist set design, Simon of the Desert is a film rich in subtext and overflowing in symbolism. Some of the striking imagery includes a thief whose hands were cut off being restored through prayer, a coffin dragging itself across the desert, an exorcism of a monk, and the devil showing up in many forms trying to tempt Simon. Although Simon only has one goal—to be closer to God—those around him are constantly interrupting him.

There are only two performances of note: Claudio Brook (The Mansion of Madness) in the role of Simon and Silvia Pinal (Viridiana), who portrays the devil. Their performances are like night and day; Claudio Brook delivers a pitch-perfect portrayal of serenity, while Silvia Pinal’s performance is expressive as she fully embraces decadence.

According to Luis Buñuel, Simon of the Desert was supposed to be a feature-length film and not an anthology film; it only became a medium-length film because producer Gustavo Alatriste ran out of money. That said, any behind-the-scenes issues don’t show in the film, and by cutting from the past to the present for the final scene, Luis Buñuel delivers a very effective transition that provides a satisfying conclusion. Ultimately, Simon of the Desert has all the elements that are synonymous with the cinema of Luis Buñuel, making it a must-see for fans of his films.

Radiance Films Nothing is Sacred: Three Heresies by Luis Buñuel compiles three of his films and offers their finest home media release to date, complete with a wealth of insightful extras. Highly recommended.

Written by Michael Den Boer