I came really close to importing the 2012 French blu-ray of
Sofia Coppola's
The Virgin Suicides, even though it has forced French subtitles, so many times because it took forever for us to finally get another HD option. But you know what? Criterion may be slow, but they always seem to come around eventually. And when they do, it tends to be worth it... if maybe a little green. Let's see how this one came out.
Update 7/22/18 - 7/8/22: Four years later and we're into true 4k. Criterion has just reissued their release as a 2-disc 4k Ultra HD/ BD combo-pack.
Suicides is Coppola's first feature, based on the novel by
Jeffrey Eugenides. She may've found her audience more with her second film,
Lost In Translation, but between the two, this is the one I find myself going back to. They share that same charming recreation of a moment in time that Coppola brings to all of her work, but maybe it's just the heft of the overt melodrama adding some lasting weight to this one. It's the relatable tale of an implausible scenario, where a group of neighborhood boys try to penetrate the romanticized veil of five beautiful sisters who all took their own lives in a small 70s suburb. The kids are all perfect, from the known (
Kirsten Dunst) to the unknown, and the rest of the cast is full of heavy hitters like
Kathleen Turner,
James Woods and
Scott Glenn.
Paramount first put
The Virgin Suicides out on DVD back in 2000. It was a pretty decent, anamorphic widescreen edition, and so that had been my sole copy of this film all the way up until 2018. But then Criterion gave it a pretty sweet 4k restoration from the original 35mm negatives, and with all new extras to boot, including Coppola's first short film,
Lick the Star. Still, that was just a 1080p blu-ray release, so now that Criterion has entered the 4k market, it only made sense that they'd reissue this as a UHD. It's now a 2-disc set, with just the film on the new UHD, and the BD is exactly the same as the 2018 one, in every way.
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1) 2000 US Paramount DVD; 2) 2018 US Criterion BD;
3) 2022 Criterion BD; 4) 2022 Criterion UHD. |
So, a couple of interesting things here... let's see, where to start? I left the negative space around these first two sets of comparison shots to highlight a curious shifting AR on the DVD. It's anamorphic, and essentially presented in a full 1.78:1, but with a little matting on the side making it about 1.77:1. Or 1.76, depending on the shot, because sometimes there's matting on the left, on the right, or on both sides, just randomly throughout the film. I assume they figured it didn't really matter since it was in the overscan area (remember, this was 2000), but it's a little weird. Anyway, the subsequent BDs and UHD are presented in what we're assured is the original aspect ratio, 1.67:1, which gives us a little extra vertical information, and sometimes loses a sliver on the sides, depending on what the DVD is doing with its aspect ratio in any given shot.
Apart from that, the new 4k restoration is heaps clearer. Maybe you don't see it so
much embedded in the post, but click through to compare them full size,
and you'll really see the difference, even on the 1080p blus. Grain is very present and
natural, and the distinction is pretty strong despite the fact that the
compression's actually pretty decent for such an old DVD. And the
colors? Well, it's hard to miss the heavy green shift in that first set
of shots, but as you can see, that's not consistent throughout the
film. Or, at least, not to the same degree. Just look at the second
set of comparison shots with
Danny Devito and a stronger bluer hue. It doesn't scream "lime-flavored" like the other comparisons, above and below, but you can still see the additional yellowish green there, too, if you focus. And if you were expecting the new UHD to come in and push the pendulum back in the other direction, no, they've stuck to their guns.
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1) 2000 US Paramount DVD; 2) 2018 US Criterion BD;
3) 2022 Criterion BD; 4) 2022 Criterion UHD. |
Now, this movie clearly plays with its colors and hues... there's a scene towards the end where a party is filtered to be very heavily and purposefully green. But you can see, this blu leans into that yellowish green at all times; and given Criterion's recent history, really makes you wonder if they're at fault a little bit here. But, with that said, it's probably not something you'd notice if you weren't doing a comparison or looking out for it. There are some shots in this film where, taken out of context, Criterion really looks like they've gone off on a green bender alright. But there are plenty of others where you'd say "there's no green push here at all!" The colors just look improved over the washed and paler DVD. So I'd say just don't let it bother you, and it's fine. Clearly some creative decisions are inherent to the color correction process, and I guess Criterion's tastes just happen to run a little green. And who knows, maybe so do Sofia's.
And whatever your thoughts on the color timing, you can't argue with the increased resolution of the 4k. We've definitely gained ground in 2022. Look how much smoother and unpixelated all that text is, and for the first time, I can read "VOLUME I" and "VOLUME II" on Devito's book cover. Grain is more natural, too. Whether you have a display big enough to appreciate it may be another matter. But at least, with our close-up comparisons, you don't have to take it on faith that the picture quality on your latest upgrade is superior.
Audio-wise, all four discs give us the single English 5.1 mix, though it's bumped
up to DTS-HD for the blus and UHD. The DVD also had a French dub, and they all provide optional English subtitles.
In terms of special features, Paramount's DVD was already fairly decent. Not
exactly a packed special edition, but it included a really good,
23-minute behind the scenes doc that gave some really good, and
sometimes funny, insights into the filming. And they had a few other
minor bibs and bobs, like the music video for the
Air song that
Coppola also directed, a stills gallery, insert and trailer. Criterion
kept all of that, so thankfully there's no need to hang onto your
eighteen year-old DVDs any longer - yay!
And in 2018, they also created some great new stuff. Primarily, they've put
together an excellent new, 26 minute documentary with Coppola, Dunst,
Hartnett and cinematographer
Ed Lachman. And possibly even more
excitingly, there's an on-camera interview with the novel's author,
Eugenides. Then there's an interview with
Tavi Gevinson, who
runs a fashion website or something that was influenced by this movie? I
wasn't entirely clear on that, but she did have some good insights into
the movie, effectively acting as a critic's take. There's an
attractive, fold-out/ leaflet style insert with an essay by novelist
Megan Abbott, a second trailer and of course, there's
Lick the Star.
It's a black and white, only fourteen minute short; but it's actually
quite good and contains a lot of what makes Coppola's features so
compelling. This isn't like
Todd Haynes'
Suicide,
where it might be interesting for devotees to get a peak at his
origins, but that's it. This is a surprisingly dark film about the cut
throat social hierarchy of high school that I watch and enjoy for its
own artistic merits, not just because it's some minor film history
artifact. In fact, it's not even the first time I've owned it on disc.
I suppose this is a bit of a deep cut, but it was originally included
as "This Month's Short Film" on the 2003 Film Movement DVD of
Hop.
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2003 US Film Movement DVD.
|
What's
Hop? Oh, it's a completely unrelated, low budget Belgium
movie about an immigrant boy and his father living in the country
illegally. They get caught and the father is deported, but the kid
winds up living with some old, retired revolutionary white guy who
teaches him the ways of terrorism in the most literal, make bombs to
blow up buildings and make the government capitulate sort of way. It
doesn't sound like it, but it basically plays like a feel good movie,
and after some bombings, the government brings the kid's dad back. I
think I'm making it sound more interesting than it is, though. It's
decently acted and directed, but it's the sort of move I've watched
several times over the years because I keep forgetting what it's about.
As you can see, it's slightly window-boxed in the overscan area, leaving
it with about a 1.83:1 aspect ratio. It's got removable English
subtitles and interlacing problems. The only extras are the trailer, a
booklet with brief notes about the film, and of course
Lick the Star.
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| 2003 US Film Movement DVD top; 2018 US Criterion blu bottom. |
Because this was shot on rather gritty 16mm film, the old DVD was
reasonably passable. The only real issue it had was being interlaced.
But Criterion seems to have given this one a new scan, too, with ugly
digital artifacting turned back into natural film grain. The aspect
ratio has subtly adjusted from 1.30:1 to 1.33:1 (revealing tiny slivers
around edges) and the contrast has been greatly improved. Subtitles
would've been nice, and I'm a little surprised that Criterion cheaped
out on them; but otherwise it's a worthwhile upgrade for us few DVD
owners and a really attractive presentation to all you first-timers.
I haven't bothered with screenshots for
Lick the Star in 2022, because the BD is the exact same disc, and the short isn't included on the UHD. So nothing's changed there.
So, the 2018 blu was a little controversial for its role the on-going
Criterion green debate. And the 2022 release has done nothing to settle or further it, except to show that Criterion was willing to double down on their timing... So there's still a little question mark there; but at worst, we're talking about a minor possible flaw on
an otherwise terrific, top-notch release. High quality scan, especially now that it's in full 3840p, with terrific
new extras and even a restoration of
Lick the Star. It's a must for Coppola fans no matter how you look at it.
