The Cheat (La Triche) – Altered Innocence (Blu-ray)

Theatrical Release Date: France, 1984
Director: Yannick Bellon
Writers: Yannick Bellon, Alain Marcel, Rémi Waterhouse
Cast: Victor Lanoux, Anny Duperey, Valérie Mairesse, Xavier Deluc, Michel Galabru, Roland Blanche, Michèle Simonnet, Patrick Raynal, Gérard Hérold, Guy Tréjan

Release Date: September 9th, 2026
Approximate Running Time: 103 Minutes 44 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono French
Subtitles: English
Region Coding: Region A
Retail Price: $32.95

"In Bordeaux, a murder investigation tied to a queer club pulls a married police inspector into a dangerous affair with a young handsome musician who may also be a suspect. As the investigation deepens, his involvement with the suspect begins to strain his marriage and blur the boundaries between his professional and private life.” – Synopsis provided by the distributor

Video: 4.25/5

Here’s the information given about the transfer, “Newly restored in HD for its first major U.S. release, the film remains a striking entry in queer French cinema."

The Cheat (La Triche) comes on a 25 GB single layer Blu-ray.

Disc Size: 23 GB

Feature: 20.5 GB

The source looks excellent; it retains an organic appearance. Flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression.

Audio: 4.25/5

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

Extras:

Extras for this release include a newly created trailer (1 minute 23 seconds, Dolby Digital mono French with removable English subtitles), an archival making-of documentary titled Between Identity and Emotion: Reflections on La Triche (47 minutes 1 second, Dolby Digital stereo French with removable English subtitles), and trailers for The Wounded Man, Wild Reeds, Taxi zum Klo, and Angst by August.

Summary:

Yannick Bellon directed The Cheat (La Triche). Her notable films are Somewhere, Someone, La femme de Jean, and L'affût.

A police commissioner investigating the death of a prominent homosexual becomes romantically involved with a young man who's the main suspect.

Although a man's murder initiates the narrative, the police procedural elements of the story become secondary after the initial setup. That said, what begins as a murder mystery evolves into a melodrama after an illicit affair that poses a threat to the police commissioner's professional and personal lives.

While the opening moments offer The Cheat’s (La Triche) most risky moment, the scene features full frontal male nudity; the sexual encounters after that are brief, or their most graphic elements are implied offscreen. At the heart of The Cheat (La Triche) is a film about self-destructive behavior and its consequences. When it comes to the police commissioner's affair with men, The Cheat (La Triche) is a biting critic of moralism.

All around, the performances are outstanding, especially Victor Lanoux (Cousin, Cousine) in the role of police commissioner Michel Verta and Xavier Deluc (He Died with His Eyes Open) in the role of a murder suspect named Bernard Mirande. Victor Lanoux delivers a remarkable portrayal of a man leading a double life: a loving family man with a wife and child and secret sexual encounters with men. What makes Michel Verta and Xavier Deluc's performances so powerful is their onscreen chemistry.

The Cheat (La Triche) is a dialogue-driven film that has a few striking moments visually. The narrative’s thrust comes from the police commissioner’s fear of his homosexual encounters being exposed, and it is in these moments that the narrative really excels at creating tension. The narrative effectively captures your attention, but it truly reaches its peak with a significant plot twist in the final 30 minutes. Ultimately, The Cheat (La Triche) is an engrossing melodrama whose tragic finale serves as a perfect coda.

The Cheat (La Triche) gets a first-rate release from Altered Innocence that comes with a strong audio/video presentation and an insightful extra. Recommended.

Written by Michael Den Boer

Lionheart: Extended Cut: Collector's Edition – MVD Rewind Collection (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1990
Director: Sheldon Lettich
Writers: Stefani Warren, Jean-Claude Van Damme, Sheldon Lettich
Cast: Jean-Claude Van Damme, Harrison Page, Deborah Rennard, Lisa Pelikan, Ashley Johnson, Brian Thompson, Dennis Rucker, Billy Blanks

Release Date: July 28th, 2026
Approximate Running Times: 109 Minutes 6 seconds (The Extended Cut), 104 Minutes 32 seconds (The Theatrical Cut)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (The Extended Cut), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions - Blu-ray)
Rating: R
Sound: LPCM Stereo English (4K UHD - The Extended Cut, Blu-ray - The Theatrical Cut), DTS-HD 5.1 English (Blu-ray - The Theatrical Cut), Dolby Digital 5.1 English (Blu-ray - The Extended Cut), Dolby Digital Stereo English (Blu-ray - The Extended Cut)
Subtitles: English SDH (4K UHD - The Extended Cut, Blu-ray - The Theatrical Cut), French (Blu-ray - The Theatrical Cut), Spanish (Blu-ray - The Theatrical Cut)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $49.95

"Upon receiving news that his brother in Los Angeles is seriously injured, Lyon Gaultier (Van Damme) Deserts the French Foreign Legion from a remote outpost in North Africa. Fleeing from two of the Legion's security force who have orders to bring him back at any cost, Lyon reluctantly turns to the illegal, bare-knuckles underground fighting circuit to raise the money he needs to help his brother's family." - synopsis provided by the distributor

Video: 4.25/5 (4K UHD), 3.75/5 (Blu-ray - Both versions)

Here’s the information provided about this release's transfer, "Director Approved 2025 4K Scan & Restoration (2160p - 16-Bit Scan of the Original Camera Negative) of the extended “A.W.O.L. Cut” of the movie presented in 1.78:1 Aspect Ratio in HDR."

Lionheart comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.6 GB

Feature: 60.1 GB

Lionheart comes on a 50 GB single layer Blu-ray.

Disc Size: 45.5 GB

Feature: 20.4 GB (The Extended Cut), 16.8 GB (The Theatrical Cut)

This Blu-ray uses the same master that MVD used for their 2018 Blu-ray release.

Audio: 4.25/5 (LPCM Stereo English - The Extended Cut), 4/5 (LPCM Stereo English - The Theatrical Cut, DTS-HD 5.1 English - The Theatrical Cut)

The 4K UHD only contains the extended cut and it comes with one audio option, a LPCM stereo mix in English with removable English SDH. This track is the best-sounding of the ones included. It sounds clean, clear, and balanced and robust when it should.

The Blu-ray contains two versions. The extend cut comes with two audio options, a Dolby Digital stereo mix in English and a Dolby Digital 5.1 mix in English. There are no subtitles. While they sound clear and balanced, they lack oomph! The theatrical cut comes with two audio options, a DTS-HD stereo mix in English and a DTS-HD 5.1 mix in English. Both tracks sound clean, clear, and balanced, and action sequences are well represented. Included are removable English SDH and French and Spanish subtitles.

Extras:

Extras on the 4K UHD disc include an audio commentary with director Sheldon Lettich, moderated by Heath Holland.

Extras on the Blu-ray disc include a theatrical trailer (2 minutes 6 seconds, Dolby Digital stereo English, no subtitles), five promotional clips/scenes from the movie for television (1 minute 29 seconds, 1 minute 3 seconds, 1 minute 26 seconds, 1 minute 15 seconds, 1 minute 24 seconds, Dolby Digital stereo English, no subtitles), a behind-the-scenes photogallery with music from the film playing in the background, an archival featurette titled Behind the Scenes of the Audio Commentary (5 minutes 39 seconds, LPCM stereo English with removable German subtitles), an archival interview with actor Harrison Page (13 minutes 4 seconds, Dolby Digital stereo English, no subtitles), an archival interview with Sheldon Lettich (25 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an archival Making of featurette (8 minutes 52 seconds, Dolby Digital stereo English, no subtitles), a featurette titled Lionheart: Behind the Fights, featuring interviews with Jean-Claude Van Damme, Sheldon Lettich, and producer Eric Karson (10 minutes 18 seconds, Dolby Digital stereo English, no subtitles), a featurette titled Inside 'Lionheart' with the Filmmakers and Cast, featuring interviews with Jean-Claude Van Damme, Sheldon Lettich, and producer Eric Karson (25 minutes 52 seconds, Dolby Digital stereo English, no subtitles), a featurette titled The Story of 'Lionheart, featuring interviews with Jean-Claude Van Damme, Sheldon Lettich, and producer Eric Karson (47 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with Sheldon Lettich and Harrison Page for the theatrical cut, and an audio commentary with Sheldon Lettich and Heath Holland for the extended cut.

Other extras include trailers for Black Eagle, Return of the Swamp Thing, and Attack of the Killer Tomatoes, reversible cover art, a collectible Lionheart “4K LaserVision” mini-poster, and a slipcover (limited to the first pressing).

Summary:

Sheldon Lettich directed Lionheart. He’s most known for the four films he made with Jean-Claude Van Damme, the other three being Double Impact, The Order, and The Hard Corps.

A man serving in the French Foreign Legion is forced to take drastic measures to reunite with his grieving family after his brother's death. Now on the run, after escaping the French Foreign Legion, he becomes entangled in underground street fights to raise money for his brother's widow and child.

Lionheart is arguably Jean-Claude Van Damme’s most well-rounded film. While action is always the focal point of any Jean-Claude Van Damme film, a film like Lionheart showcases what he’s capable of beyond the brawn. Jean-Claude Van Damme portrays Lyon, a character that allows him as an actor to dig deeper than his usual role. That said, Lyon’s estrangement from his brother and his need to make amends for not being there for him when he was murdered are what drive the narrative.

Although Lionheart is overflowing with 1980s and 1990s action cinema cliches, they actually suit the story that unfolds really well. The bulk of the action is organized street fights for affluent people's entertainment. All around the action sequences are outstanding, especially a brutal knockdown drag-out finale where Lyon narrowly wins.

Jean-Claude Van Damme (Kickboxer) delivers a solid performance that’s oozing with charisma. His character, Lyon, is a man of few words who lets his fists do most of the talking. Lyon is a fish out of water when he arrives in the US. He meets Joshua, a former fighter who helps him earn money and locate his dead brother's wife. Unfortunately, for Lyon, wherever he goes, trouble seems to find him.

While Jean-Claude Van Damme is clearly the main attraction, Lionheart surrounds him with a strong cast who are all excellent in their roles. Harrison Paige in the role of Josuha delivers a standout performance. Rounding out the cast are Deborah Rennard, who portrays Cynthia, who orchestrates the street fights, and Brian Thompson (Cobra) in the role of Cynthia’s bodyguard. The bad guy characters are stereotypical and deliriously over the top.

The opening setup immediately grabs you with a scene where Lyon’s brother, a drug dealer, is burned alive. This scene firmly sets the tone for a grim story that is filled with tense moments and several well-executed twists. After a solid opening setup, the narrative does a superb job holding your attention while it builds momentum to an emotionally charged, cathartic finale. Ultimately, Lionheart is a very satisfying mix of melodrama and action.

Lionheart gets a first-rate release from the MVD Rewind Collection that comes with a strong audio/video presentation and informative extras. 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

Two Boxes: Televised Terror in Franco's Spain: Limited Edition – Transmission Video Distribution (Blu-ray)

Release Dates: Spain, 1972 (La cabina), Spain, 1974 (El televisor)
Directors: Antonio Mercero (La cabina), Narciso Ibáñez Serrador (El televisor)
Cast: José Luis López Vázquez, Agustín González, Goyo Lebrero, Tito García (La cabina), Narciso Ibáñez Menta, María Fernanda D'Ocón, Kiti Mánver, José Miguel Aguado, Rafael Navarro, Sergio Doré, Estanis González (El televisor)

Release Date: August 3rd, 2026
Approximate Running Times: 35 Minutes 54 Seconds (La cabina), 67 Minutes 57 Seconds (El televisor)
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: 12 (UK)
Sound: LPCM Mono Spanish (Both Films)
Subtitles: English (Both Films)
Region Coding: Region Free
Retail Price: £19.99 (UK)

"Spain in the early 1970s was a country in transition, with increasing economic prosperity and the expectations of a growing middle class in direct conflict with the dying Francoist regime, where state surveillance, media censorship, and social control were still the norm. Inspired by mystery-horror anthology series such as Alfred Hitchcock Presents and The Twilight Zone, this unique period in history is depicted with terrifying clarity and dark humor in these two infamous television films: La cabina and El televisor. 

In Antonio Mercero’s La cabina, a group of officials install a telephone box outside a block of flats. After a man enters to make a phone call, he finds himself unable to leave, attracting the attention of fascinated locals as he grows increasingly desperate to escape. A sensation upon release, La cabina also developed a huge cult following in the UK after regularly screening on late-night TV.

In Narcisco Ibáñez Serrandor’s El televisor, a man living a dreary suburban life has a simple dream: to possess his own television. When he finally gets his wish, the dream soon becomes a dangerous, all-consuming obsession. Originally a special episode of Serrandor’s hugely popular series Tales to Keep You Awake, El televisor’s escalating dread and shocking conclusion still retains its power to shock over 50 years later." - synopsis provided by the distributor

Video: 4.25/5 (La cabina), 3.75/5 (El televisor)

Here’s the information provided about the transfer, "La cabina was supplied to Radiance Films as a high-definition digital file by Televisión Española.

El televisor was supplied to Radiance Films as a high-definition digital file by Televisión Española. Additional clean-up was performed by Radiance Films."

La cabina and El televisor come on a 50 GB dual layer Blu-ray.

Disc Size: 43.1 GB

Feature: 9.6 GB (La cabina), 18.3 GB (El televisor)

La cabina is in better shape than El televisor, which exhibits more noticeable source-related debris. Flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression.

Audio: 4/5 (La cabina - LPCM Mono Spanish, El televisor - LPCM Mono Spanish)

Each film comes with one audio option, a LPCM mono mix in Spanish with removable English subtitles. Both tracks sound clean, clear, and balanced.

Extras:

Extras for this release include an interview with Spanish film expert Antonio Lazaro-Reboll on horror in Francoist Spain (37 minutes 34 seconds, Dolby Digital stereo English, no subtitles), an archival interview with co-screenwriter of La cabina Jose Luis Garci (18 minutes 19 seconds, Dolby Digital stereo Spanish with removable English subtitles), an archival La cabina location featurette with Antonio Mercero Santos (13 minutes 6 seconds, Dolby Digital stereo Spanish with removable English subtitles), an archival press conference from 1999 with director Narciso Ibanez Serrandor promoting El televisor (6 minutes 47 seconds, Dolby Digital stereo Spanish with removable English subtitles), an audio commentary with writers and filmmakers Reece Shearsmith and Steve Pemberton for La cabina, an audio commentary with film critics and horror experts Jonathan Rigby and Kevin Lyons for El televisor, a removable OBI strip leaving packaging free of certificates and markings, an O-card slipcover (limited to 5,000 copies), a 36-page booklet (limited to 5,000 copies) with cast & crew information, an essay titled Two Boxes: Televised Terror in Franco's Spain written by Alex Mendibil, an essay titled Fear of the Box: The Late Night Legend of La cabina on British TV written by Paul Martinovic, and information about the transfer.

Summary:

La cabina: A man goes inside a recently installed telephone box; when he tries to make a call, the phone does not work. When he tries to leave the telephone box, it has become sealed and impenetrable. From there, a crowd gathers and quickly grows in size, and any attempt to free is unsuccessful.

For a film that only clocks in at 36 minutes, La cabina conveys so much in regard to social commentary and subtext. Themes explored bureaucratic inefficiency, psychological distancing, and isolation. La cabina is a film overflowing with psychological horror, which is mostly conveyed through the use of black humor. That said, what is happening to the protagonist is no laughing matter.

While there are several people who try to help the protagonist and an abundance of spectators enjoying his plight, there is really only one actor who stands out: José Luis López Vázquez in the role of the protagonist. He delivers a remarkable performance that perfectly conveys his character's fright and hopelessness. Confined in a small space, so much of his performance relies on his body language.

The most striking aspect of La Cabina is the visuals and how they constantly come up with interesting compositions despite its confined space. Another area where the visuals excel is their ability to create and sustain a forbidding mood. The narrative masterfully builds tension, culminating in the revelation of the protagonist's fate. Its finale is an exclamation mark on the dangers of institutional inefficiency with the cycle of events starting over. Ultimately, La cabina is a surrealist nightmare that explores universal themes that are all too real.

El televisor: Narciso Ibáñez Serrador directed El televisor. He’s most known for The House That Screamed, Who Can Kill a Child, and Twilight Zone-like television series Historias para no dormir.

A man who has spent his life doing what is right, always going to work, and providing for his family finally has enough money to buy the television he’s longed for. What starts off as a moment of escapism turns into a waking nightmare when he’s unable to distinguish between reality and fantasy.  

El Televisor is best described as a psychological melodrama with horror and fantasy elements. A common trend in early 1970s Spanish cinema is to use horror elements to convey social commentary, because any other genre would have censored said content. The most notable themes explored in El Televisor are consumerism and media consumption. While the themes being explored veer into dark territories, they are laced with a subversive humor.

All around, the cast are outstanding in their roles, especially Narciso Ibáñez Menta (the director’s father) in the role of the protagonist, a bank employee named Enrique. He delivers an utterly convincing performance of a man who loses sight of what is really important and gets overwhelmed by his obsession. María Fernanda D'Ocón gives an equally compelling performance in the role of Susana, Enrique’s wife.

The visuals, while not overly stylish, mostly let the performances be the focal point. The narrative does an excellent job drawing you in, and from there it effectively builds upon a series of tense moments that culminate with a carnage-filled finale. Another strength of El Televisor is how well it taps into elements that are universal and highlight their sinister undertones. Ultimately, El Televisor is an extraordinary film that’s overflowing with imagination and foreboding atmosphere.

The best part of cinema is venturing outside of your comfort zone and discovering something unexpected. While I am familiar with 1970s Spanish cinema, La cabina and El televisor were two genuine surprises. That said, Transmission Video Distribution’s Two Boxes: Televised Terror in Franco's Spain is a must-have purchase for fans of 1970s Spanish cinema, and I regard it as one of 2026’s best home media releases. Highly recommended.

Written by Michael Den Boer

Into the Forest: Folktales at DEFA – Eureka Video (Blu-ray)

Theatrical Release Dates: East Germany, 1955 (The Devil from Mill Mountain), East Germany, 1957 (The Singing Ringing Tree), East Germany, 1960 (Rumpelstiltskin), East Germany, 1962 (Little Red Riding Hood), East Germany, 1977 (The Devil's Three Golden Hairs)
Directors: Herbert Ballmann (The Devil from Mill Mountain), Francesco Stefani (The Singing Ringing Tree), Christoph Engel (Rumpelstiltskin), Götz Friedrich (Little Red Riding Hood), Egon Schlegel (The Devil's Three Golden Hairs)
Cast: Eva Kotthaus, Hans-Peter Minetti, Willy A. Kleinau, Werner Peters, Hans Klering, Aribert Grimmer (The Devil from Mill Mountain), Christel Bodenstein, Charles Hans Vogt, Eckart Dux, Richard Krüger, Dorothea Thiesing, Günther Polensen (The Singing Ringing Tree), Karin Lesch, Karl-Heinz Rothin, Reinhard Michalke, Peter Dommisch, Nikolaus Paryla, Bodo Mette (Rumpelstiltskin), Blanche Kommerell, Helga Raumer, Horst Kube, Friedel Nowack, Werner Dissel, Harald Engelmann, Ernst-Georg Schwill, Jochen Bley, Waltraud Lohrmann (Little Red Riding Hood), Hans-Joachim Frank, Kurt Radeke, Rolf Ludwig, Katrin Martin, Wolfgang Greese, Hannjo Hasse, Fred Ludwig, Peter Köhncke (The Devil's Three Golden Hairs)

Release Date: July 27th, 2026
Approximate Running Times: 86 Minutes 29 Seconds (The Devil from Mill Mountain), 74 Minutes 53 Seconds (The Singing Ringing Tree), 72 Minutes 23 Seconds (Rumpelstiltskin), 71 Minutes 43 Seconds (Little Red Riding Hood), 92 Minutes 19 Seconds (The Devil's Three Golden Hairs)
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (All Films Except The Devil's Three Golden Hairs), 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Devil's Three Golden Hairs)
Rating: 12 (UK)
Sound: LPCM Mono German (All Films), LPCM Mono English (The Singing Ringing Tree, The Devil's Three Golden Hairs)
Subtitles: English (All Films)
Region Coding: Region B
Retail Price: £44.99 (UK)

"In The Devil from Mill Mountain, a greedy miller attracts the ire of forest spirits when he and his accomplices disguise themselves as demons to burn down a rival mill. In The Singing Ringing Tree, a young prince must find a legendary tree to win the heart of an icy princess – and risks being transformed into a bear if she fails to fall in love with him. Rumpelstiltskin follows a young woman whose boastful father claims she can spin straw into gold, leading her to make an ill-advised pact with a magical imp. Then, the eponymous Little Red Riding Hood sets off to see her sick grandmother, relying on her friends the rabbit and the bear to help her evade the cunning fox and the big bad wolf. Finally, The Devil’s Three Golden Hairs sees an unfortunate young man tasked with travelling into hell to retrieve three golden hairs from the Devil himself." - synopsis provided by the distributor

Video: 4/5 (Rumpelstiltskin, Little Red Riding Hood, The Devil's Three Golden Hairs), 3.5/5 (The Devil from Mill Mountain, The Singing Ringing Tree)

Here’s the information provided about this release's transfer, "1080p HD presentations of all five films from restorations by the DEFA Foundation."

The Devil from Mill Mountain and The Singing Ringing Tree come on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 21.4 GB (The Devil from Mill Mountain), 18.6 GB (The Singing Ringing Tree)

Rumpelstiltskin and Little Red Riding Hood come on a 50 GB dual layer Blu-ray.

Disc Size: 42.5 GB

Feature: 20.6 GB (Rumpelstiltskin), 19.5 GB (Little Red Riding Hood)

The Devil's Three Golden Hairs comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.3 GB

Feature: 26.7 GB

Little Red Riding Hood and The Devil's Three Golden Hairs sources look comparable to Deaf Crocodile’s 2026 Blu-ray release. All of the films exhibit flesh tones and colors that look correct; the image is generally strong; and there are no issues with compression. That said, like Deaf Crocodile’s release, there is digital noise reduction that varies in severity. The worst-looking transfers are The Devil from Mill Mountain and The Singing Ringing Tree.

Audio: 4/5 (LPCM Mono German - All Films, LPCM Mono English - The Devil’s Three Golden Hairs), 3.5/5 (LPCM Mono English - The Singing Ringing Tree)

Each film comes with a LPCM mono mix in German with removable English subtitles. While all tracks sound clean, clear, and balanced, they are limited range-wise. The Singing Ringing Tree and The Devil’s Three Golden Hairs also come with a LPCM mono mix in English with removable English subtitles for text in German. The Devil’s Three Golden Hairs sounds clean, clear, and balanced, while The Singing Ringing Tree has some background hiss and other minor imperfections.

Extras:

Extras on disc one include Fairytales and Nightmares—new interview with writer, broadcaster, and Fortean Times columnist Bob Fischer on the history of The Singing Ringing Tree (21 minutes 24 seconds, LPCM stereo English, no subtitles), an archival interview with actress Christel Bodenstein (16 minutes 33 seconds, LPCM stereo German with non-removable English subtitles), and an audio commentary with film historian Michael Brooke for The Devil from Mill Mountain.

Extras on disc two include The Wolf and the Seven Little Goats, a short cut-out animation adapted from the Brothers Grimm story by the DEFA studio for animation film (10 minutes 21 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles), and an audio commentary with Sam Goff, editorial director for Klassiki and host of The Klassiki Kino Club podcast for Rumpelstiltskin.

Extras on disc three include a video essay on the depiction of the Devil in folktales from the Brothers Grimm to DEFA by film and literature scholar Mary Going titled DEFA and the Devil (25 minutes 18 seconds, LPCM stereo English, no subtitles), The Magic Scissors, a short silhouette animation inspired by traditional folktales and produced by the DEFA studio for animation film (19 minutes 7 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles), and Sleeping Beauty Was a Beautiful Child, a short puppet animation adapted from Sleeping Beauty by the DEFA studio for animation film (5 minutes 19 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles).

Other extras include reversible cover art, a hardbound slipcase (limited to 2,000 copies), and a 60-page book (limited to 2,000 copies) with cast & crew information for each film, an essay titled Work, Wealth, and Ordinary Women: An Introduction to DEFA’s Folktales written by Sebastian Heiduschke, Forest Fairies: Notes on Folktales at DEFA written by Sonja Fritzsche, Qinna Shen, and Elizabeth Ward, Brothers Grimm Folktales translated by Margaret Hunt, and information about the transfer titled Notes on Viewing.

Summary:

The Devil from Mill Mountain: A greedy windmill farmer and some accomplices dress up like devils and burn down a rival windmill farmer’s land.

While most of DEFA’s fairy tales are based on stories written by the Brothers Grimm, The Devil from Mill Mountain is based on folklore from the Harz region, a low mountain range in Germany. The Devil from Mill Mountain, like all of DEFA’s fairy tales, is a morality tale, and the theme this time around is greed.

The narrative is exposition-driven, and it has many moving parts. Besides the aforementioned greedy windmill farmer, there is a love story that revolves around an orphan named Anne and a man named Jörg. After the fire, the greedy windmill farmer uses the stolen flour from the burned-down windmill farm to further exploit the locals and become richer. The fire also keeps Anne and Jörg apart; Anne is forced to work for the greedy windmill farmer, while Jörg finds employment at a nearby castle working for a sadistic steward.

Athough there are fairy tale elements, notably three spectral characters named Good Coal-Burners, the result is a film that’s actually closer to a melodrama. That said, the narrative has many peaks and valleys, and its deliberate pacing some might find slow-moving. When it comes to the performances, they suit the story that unfolds really well. The most memorable performance is by Willy A. Kleinau, who portrays the greedy windmill farmer. Ultimately, The Devil from Mill Mountain’s positives outweigh any of its negatives.

The Singing Ringing Tree: A prince trying to win the heart of a stubborn princess goes on a magical journey to retrieve for her the Singing Ringing Tree.

While there are some elements from the Brothers Grimm’s The Dwarf, the Fox, and the Princess, The Singing Ringing Tree’s main source of inspiration is based on the German fairy tale The Singing, Ringing Tree, or the Punished Presumption. The Singing Ringing Tree is a fantasy film featuring a character who transforms into a bear and another character, a dwarf, who possesses the ability to alter his surroundings at will. That said, The Singing Ringing Tree is yet another morality tale that explores selfishness and inner beauty.

From its opening moments, the narrative does a superb job captivating you. It is a story that’s overflowing with imagination and there are an ample amount of surprises. Along the way the prince and princess face many challenges, and it is how they react to them that makes them stronger. All around, the acting is solid, especially Christel Bodenstein’s portrayal of a selfish princess who only learns the error of her ways after being turned ugly and forced to become self-reliant. Another performance of note is Richard Krüger’s portrayal of a mischievous dwarf who uses his magical powers to keep the prince and princess from finding happiness. Ultimately, The Singing Ringing Tree is an exemplary film, making it one of the best examples of DEFA’s fairy tales. 

Rumpelstiltskin: A lazy mill owner makes up a tale about his daughter being able to spin straw into gold to avoid paying taxes. The king's treasure demands a demonstration and the mill owner's daughter is then locked in a room. In the morning when gold replaces straw, the king's demand for more gold further complicates things.

No name is more synonymous with fairy tales than the Brothers Grimm. Rumpelstiltskin is one of the Brothers Grimm's most famous stories, having been adapted for film numerous times. That said, Rumpelstiltskin is a morality tale about greed and how its cure is taking something away that is more important.

The narrative quickly draws you in and holds your attention as each new lie from the father character digs a deeper hole for his daughter. While social commentary about greed is the driving force of the narrative, one must not overlook the significant role that humor plays. The moments with the magical imp Rumpelstiltskin and the father character are where all of the humor lies.

While many of DEFA’s fairy tales were made on very limited budgets, the more memorable ones always overcame their limitations. This is most certainly the case with Rumpelstiltskin, a film that’s bursting with imagination and full of wonder. Ultimately, Rumpelstiltskin is a highly entertaining film that perfectly balances fantasy and humor.

Little Red Riding Hood: A little girl named Red Riding Hood travels the treacherous forest with her bunny friend on her way to visit her sick grandmother. 

Red Riding Hood is another character and story that has been adapted into numerous films over the years. Although Götz Friedrich’s Little Red Riding Hood brings little that is new to the table, it never strays too far away from the source story’s core elements. Red Riding Hood is constantly looking for the positive in everyone, and it is her naivety that puts her in danger. Little Red Riding Hood is a story firmly rooted in deception; there is a wolf and a fox who want to eat Red Riding Hood, and they try to deceive her in various disguises.

While Little Red Riding Hood’s production design is not as stripped down as Frau Holle, its costumes, specifically the ones that are clearly people in obvious animal suits, reveal the film’s lack of resources. At 72 minutes in length, the narratives' peaks and valleys are well handled, and pacing is never an issue. Considering the subject matter, it's not surprising that a few scenes are grim, notably a scene where the mother cuts open the wolf to remove a still-alive grandmother from his stomach. That said, the film does remarkably well when it comes to its use of humor. Ultimately, Götz Friedrich’s Little Red Riding Hood is too much by the numbers, making its shortcomings more glaring.

The Devil's Three Golden Hairs: Jakob, a blacksmith's apprentice, crosses paths with the king and enrages him. The king gives him a letter calling for his execution. Before Jakob is able to deliver said letter, his former coworkers get ahold of it and rewrite it. When Jakob finally delivers the letter, it says that he’s supposed to marry the king’s daughter.

While The Devil's Three Golden Hairs is a film firmly rooted in fantasy, it also leans heavily into humor. The protagonist Jakob is a klutz and those around him are often the recipients of clumsiness, which often ends with bodily harm. Knowing Jakob’s limitations, the king tries to prevent him from marrying his daughter by insisting that he retrieve the devil’s three golden hairs.

By far, The Devil's Three Golden Hairs is DEFA’s most accomplished fairy tale film and one of its longest in duration, clocking in at 92 minutes. Its production design, which is for the most part solid, does an excellent job pulling you in to the world depicted. When Jakob ventures into hell, these moments are where the production design excels the most. While The Devil's Three Golden Hairs is a colorful film, the use of color for the scenes in hell is striking.

As mentioned before, humor plays a significant role in the story that unfolds. While there is an absurdist quality to the events, the performances at times are a little over the top, notably Rolf Ludwig’s delirious portrayal of the king. When it comes to pacing, there is never an issue, as the narrative does a superb job building to its finale. Ultimately, The Devil's Three Golden Hairs is a very satisfying blend of humor and fantasy that fans of fairy tales should thoroughly enjoy.

While there are many who are disappointed in the use of digital noise reduction for these masters, the blame lays with the rights holder and not Eureka Video. That said, if Eureka Video rejected the masters, these films would languish in obscurity. Despite the master's shortcomings, I still recommend Into the Forest: Folktales at DEFA.

Written by Michael Den Boer