Dueling Disclaimers: Ganja & Hess (DVD/ Blu-ray Comparison)

Ganja & Hess has always had a bit of a tricky time on home video, essentially because it's original film elements seem to be lost to the ages. But at the same time, there seems to be a core group of fans and preservationists that keep holding screenings and taking stabs at it. I mean, the MoMA (Museum of Modern Art) is a credited producer right on the front cover of the latest version - how often do you see that? So I thought we'd have a look at the current blu-ray release from Kino, and the previous DVD release from All Day Entertainment, and see just what we've got here.

Update 2/7/18: Just a little one, adding the Kino DVD that was released separately, but at the same time, as their blu. Nothing exciting, same extras, same transfer apart from it being pared down to SD. It just came across my desk, so I'm mixing it into the comparisons in the interest of being more thorough.
Night of the Living Dead's Duane Jones is Dr. Hess Green, a well-to-do west coast anthropologist and an honest-to-goodness modern day vampire. When George (writer/ director Bill Gunn) tries to kill himself on Hess's property, the good Doctor takes him into his home, befriends him and gives him a place to say. But you can only live in the same house with a vampire for so long, and it seems like a quiet little murder that will go undetected until, to Hess's surprise, George's ex-wife Ganja (Marlene Clark) shows up with questions, and she isn't easily put off. In fact, she moves right in.

Ganja & Hess is a very low budget film, not helped by the present state of its film elements. It looks very 70s, grainy and grimy, like so many 70s clunkers. But this one is actually very smartly written with some great scenes and surprisingly modern and naturalistic performances. The pacing is deliberately "arty," which is to say slow without the usual emphasis on exploitation and cheap thrills, and the metaphor for blood drinking as drug addiction is really obvious and heavy-handed. But the good outweighs the bland, and the film really comes to life when Ganja shows up and manages to be a more exciting character than the vampire. Overall, this is a very serious, earnest production, but there are some wickedly funny moments at time to keep you engaged. It's unconventional structure might throw you off at first, plot points are buried and it does steer into some heavy self-indulgence at times (particularly the climax, which will seriously test your patience). But there's just too much great stuff here not to keep returning to it.

By the way, this was remade not too long ago by Spike Lee as Da Sweet Blood of Jesus. That's very faithful and stylish, definitely worth a look. But the new Ganja isn't a patch on Marlene Clark. So the remake's a fine curiosity piece, but the original's the truly compelling film.
So Image and All Day released this film a couple of times, first in 1998 and again in 2000. But I never bit until their 2006 "Complete Edition," which not only boasted new extras, but an exclusive restoration with "3 minutes of footage missing from previous home video versions." Well, glad to have the footage back, but it's still a pretty damaged viewing experience, opening up with a disclaimer about the picture quality. In 2012, Kino gave the film its HD debut with a blu-ray edition restored and "mastered in HD from a 35mm negative." They also released an SD edition of the same on DVD at the same time as a separate release.  In both cases, it's still a pretty damaged viewing experience, and one that opens with its own disclaimer.
2006 Image DVD on top; 2012 Kino blu-ray below.
2006 Image DVD on top; 2012 Kino DVD mid; 2012 Kino blu-ray below.
So, both transfers are very grainy and beat up, but they are still pretty distinct. Clearly the same print was used for at least part of the transfer (Kino mentions using several 35 prints, whereas Image used a 16mm copy to fill gaps), as the same damage appears on the same frame (see the first set of shots). But even in those instances, we see the color timing is quite different (Kino going overly green while Image went reddish), the framing is different (Kino opens the film to 1.67:1, while Image crops it to a more traditionally theatrical ratio of 1.78:1), and oops! The Image DVD is interlaced. You know, I would have expected that on the initial 1998 DVD, but the 2006 version? That's disappointing. Anyway, I kind of prefer Image's coloring, but in all other respects, Kino really is a superior viewing experience.  I'm glad to see this is more than just the 2006 transfer plopped onto a blu-ray disc; they've really done some serious restoration here.

Between Kino's blu and DVD, you don't lose a lot detail given the rough source material, but especially on a larger screen, you do see the difference. The DVD is softer around the edges.  But the curious thing is that there's another difference.  For whatever reason, the colors are different, with a warmer tone on the blu and a distinctly cooler push on the DVD.  It's not even some super subtle, you'd never notice it distinction.  I mean, it's not huge, obviously, but it's different enough that I wouldn't chalk it up to just the effects of different levels of compression for the two formats.  Anyway, it's just an odd little detail.  Personally, I prefer the blu's color timing.


Image gives us a somewhat hissy but respectable Dolby 2.0 mono track, and Kino essentially gives us the same but in LPCM. The strong musical moments manage to really grab you on both releases. None of the releases offer subs.
Now, extras are pretty interesting. All of the DVD releases from 1998 to Kino's blu feature a strong commentary, that's both fun and informative, by Marlene Clark, producer Chris Schultz, cinematographer James Hinton and composer Sam Waymon. If you consider yourself a fan of this film and haven't heard it yet, definitely check it out. Apart from some stills and a DVD-Rom article by Tim Lucas, that's all the old DVDs had. But the Complete Edition adds a new half hour documentary called The Blood Of the Thing, where Schultz takes you through the film's history. And all of that stuff, even the DVD-Rom bits, are on Kino's blu.

BUT, Kino actually took a step backwards. Because not only did they not produce any new features, but they dropped one other one that debuted on the Complete Edition. It's an 18 minute featurette called Ganja and Hess Reduced, and it's easy to see why Kino dropped it. It's David Kalat, the DVD producer, doing a partial audio commentary over the film. SO it makes sense Kino doesn't want All Day's guy on their disc, I guess - would Arrow have an interview with Cliff MacMillan on one of their discs? But it's a real loss, because Kalat is a bit of an expert on this film, and uses his time to basically fill in all of the obscure and interesting information about this film that the other extras left out. And this film is a treasure trove of obscure trivia and things you'd never pick up on, so this feature was really illuminating and interesting. And it's only on the 2006 DVD.
So this film's not for everybody, but it's really quite good. Apart from die-hard vampire lovers, this film might appeal more to drama fans than horror fans, but anybody who appreciates good movies will at least find something for them in here. And Kino (and MoMA) have given us the best, most definitive version of the film to date and that we're ever likely to see sans a time machine. So this is the version I'd recommend to anyone. But if you're a serious Ganja and Hess fan, you might want to double-dip for that last featurette. You know, get it used and treat it as a bonus disc.

Coscarelli Fans, Have You Thought About Kenny & Co Lately?

In the early 2000s, DVDs were on fire. Not only were our favorite cult films getting big, fancy special editions, but so were their directors' oddball early films, like Fast Company, There's Always Vanilla and Don Coscarelli's obscure kids' flick, Kenny & Co. Those days are past, and nowadays if you want to get Kenny & Co on DVD, it only costs, let me check Amazon here... oh, only $149.95. And that's with price inflation having been staved off for several years when Amazon was selling this as part of their MOD program, keeping the prices of the original Anchor Bay DVDs gone. Those are off the table now, but current prices would probably be even worse right now if a few fans weren't given the opportunity to get this film cheap in the meantime. But really, it's only the special edition Anchor Bay disc that serious fans should have any interest in anyway.
Calling Kenny & Co a kids' film is a little unfair. It's more of an adult film (in the non-XXX sense) about childhood than a film made for kids. But it also kinda hedges its bets and gears a good chunk of the humor towards actual child audiences, so it feels a bit compromised. But don't confuse this with 1984's Kidco or anything like that. It's a highly watchable look back at a time when kids were less protected. This is honest, not sanitized. There's one scene where they're walking home from school and there's a car accident on the street right next to them, so they rush up to look in the window and see the dead body. But on the other hands, Coscarelli fans should know this is definitely not a horror movie. There isn't really even a focused plot, so much as a slice of life during one particular autumn. There is a Halloween segment which hints at the writer/director's future body of work, but horror fans had better be ready for something closer to Pauline At the Beach than Nightmare On Elm St.

It's genuinely a pretty good little movie, but let's face it, it would never have survived the 1970s if it wasn't for the filmmaker's subsequent legacy. What's on sale here for most of us is a pre-fame film by not only Phantasm's creator, but one which also happens to share two of it's lead actors, A Michael Baldwin and Reggie Bannister, plus a number of additional cast and crew. You don't have to be a Coscarelli fan to enjoy this picture, but you do to be looking for this film in the first place.
And that's why, in 2005, Anchor Bay put together a nice little special edition, including a commentary by Coscarelli and more features involving Bannister, Baldwin and others. Even if they wound up not caring for the film, there was enough here for the die-hard Phantasm fans. Amazon's MOD? Completely barebones. And for a release where, let's face it, many fans would be more interested in the special features than the film itself, that's seriously disappointing. I never picked it up, but Id' consider you lucky if they even used the same, restored transfer and not a VHS rip.
Anchor Bay's 2005 DVD.
Anchor Bay gave us a nice 1.85:1 restoration of the film which looks great. It's very clear, anamorphic and has no interlacing issues, plus a fairly healthy Dolby stereo track. There is a bit of a hazy look to the whole thing, but I assume that's down to how the original film was shot. The IMDB lists this as being shot on 35mm, but I don't believe them. I'm fairly certain this was shot on 16. We even see shots of Coscarelli filming this in the extras on a 16mm camera. That does lead us to one little detail regarding the aspect ratio, though.
The Story of Kenny & Co featurette on top; film presentation on the bottom.
Shooting in 16 gives you a fullscreen format. And the screenshot comparison above, with the first shot coming from the DVD extras, shows us that they definitely cropped the film for this restored presentation, so we lose the matted picture on the top and bottom. But honestly, it looks good in 1.85, and given Coscarelli's involvement with the DVD's production, I assume he was aware and approved of the decision to matte the film. So personally, I'm completely fine with it, but I figured you should know. The film's original television broadcasts and all were probably open matte.
So exactly what are the other treats with the film? Coscarelli gives us a great audio commentary, joined by Baldwin and producer Paul Pepperman. That's one of the two main features, alongside a retrospective documentary featurette called The Story of Kenny & Co, which includes some great behind-the-scenes footage and new interviews with Don, Baldwin, Pepperman, Bannister, and executive producer D.A. Coscarelli. There's some surprising stuff here about how Kenny & Co turned out to be a bit of a break-out hit in Japan despite being barely released here. There are also two vintage TV spots with some cheesy narration, and one which uses the fuller title Kenny & Company. Anchor Bay's DVD also came with an insert showing some alternate poster art I'm sure Amazon's MOD didn't include.
So Anchor Bay's DVD is pretty great, and I don't think you could expect anything better short of an HD release, which I wouldn't hold my breath for. Unless Arrow winds up bundling it in an ultimate limited edition Phantasm boxed set next year or something. Otherwise, I think we were lucky to get this even in the heyday of the DVD format. No, I don't recommend paying $150+ for it. But it is a pretty compelling release, so you might want to keep it in the back of your mind in case you stumble across a reasonably priced copy one day.

Warner Bros, Please Stop Being Jerks, and Let's Get Definitive About Ken Russell's The Devils

Critic Mark Kermode found the the missing footage from Ken Russell's 1971 epic The Devils in a warehouse in 2002, and in 2004, the British Film Institute was able to reassemble the complete director's cut, which had long been thought to be lost forever. Kermode toured the UK with Russell himself, screening this version in theaters to rave reviews. But Warner Bros, the studio that funded the film in the first place, specifically forbade the BFI from releasing this restored cut and continue to actively repress the uncut version of this film internationally. Who ever heard of a studio censoring their own film? You should definitely watch this short video Kermode made about this stupidity, addressing the BBC, and how filmmakers like Guillermo del Toro are taking WB to task for this.
In 2012, the BFI gave us the best they could on home video: a 2 DVD set of the British theatrical cut, which is missing the recovered footage, including the infamous "rape of Christ" scene. And it really isn't as offensive as that nickname implies. There's certainly ample nudity and religious imagery, and I certainly wouldn't play it in a Sunday school classroom, but the full scene was able to air uncensored on the BBC and is currently on Youtube. This is an old movie, and I don't even think it would occur to modern audiences to be shocked by it compared to what gets just a generic R rating today.  It's certainly less offensive than what you see in The Exorcist, for example (after all, those scenes involve a child), which Warner Bros happily releases and re-releases. But for whatever, unstated reasons, they just won't allow The Devils to be released uncut. And so the closest we've got is still the grey market bootleg from Angel Digital in 2005, which features a composite print and (even a substantial supplement package) assembled by Wayne Maginn, which he describes creating:
"Within a short period of time, it was revealed that a can was found containing much of the cut footage and this would be formed into a documentary for TV broadcast. Unfortunately, I lacked a DVD recorder at that particular time and so had to record the Hell on Earth documentary on its original broadcast on VCR. Having purchased a DVD recorder only months later (the desire to back up the documentary on DVD-R being one of the main factors in scraping together the money to finally afford one), I set about cutting together the British X-rated theatrical edit of the film.

Noting that Mike Bradsell had intercut the restored Rape of Christ scene with footage from the scene with Grandier outdoors, I ensured I removed the shots from the base print I was using so they did not repeat. As closely as I could, I attempted to insert the footage as smoothly as possible with my VCR-to-DVD recorder setup, unfortunately having to trim a few seconds off the opening of the scene where on-screen text appeared in the documentary so as to provide as seamless a transition as possible within my means.

I felt the film deserved special treatment as far as could be provided and if Warner were not going to then I would do my best to give it some bells and whistles. I just wish I had recorded the documentary on a better format at the time and also had done a better job of the composite. Alas, I lacked the equipment and software that some had at the time!"
-- excerpt from Raising Hell: Ken Russell and the Unmaking of the Devils by Richard Crouse (ECW Press, Oct 1, 2012)
The Devils stars Oliver Reed as Father Grandier, an obstinate priest who runs a large, fortified city that unfortunately stands between Cardinal Richelieu and plans to take control over the entire pre-renneaisance country of France. The people support Grandier so resolutely, it seems impossible to move him... at least until Sister Jeanne (Vanessa Redgrave) and her entire convent of nuns seem to fall victim to demonic possession. Now all they need to do is convince the world that Grandier is to blame.

The Devils is Ken Russell's ultimate masterpiece, a perfect blend of his far-out visuals and serious, historical drama. It comes from the period in his career when he had his strongest cast of British actors available to him, and control of quite an impressively large production. It's a powerful film, and the closer we get to a proper, uncut restored version of the film, the clearer that becomes. Just imagine if we could finally see a truly complete version.
So, The Devils has spent most of its days being completely unavailable. The Angel Digital bootleg came out in 2005, but the first official release wasn't until 2010, and that was only in Spain. Surprisingly, it was a direct Warner Bros release. I used to own it, and can tell you, it was the edited cut (shorter even than the British theatrical cut) that was released on VHS in the USA. And quality-wise, it was a decent, 2.35:1 transfer - certainly better than anything we'd seen before. But it doesn't stand up to the BFI's subsequent disc. In fact, it was non-anamorphic. Unfortunately, the only screenshot I took was of the opening logo for a forum post back when in 2010.
Angel Digital 2005 DVD on top; Warner Bros 2010 DVD bottom.
You can see why, even non-anamorphic, it was exciting at the time compared to the bootleg we'd had before it. You also get an early sneak peek of how poor the bootleg looks (though at least it was anamorphic). But put yourself in 2005 and we were happy just to see it in widescreen or disc at all. Even on laserdisc, all there had been was a cruddy fullscreen Japanese disc, nothing in the US. So each of these upgrades were at least a little exciting at the time. But again, it was a much shorter cut, so not many people jumped on it. It was also, by the way, completely barebones, only offering basic English and Spanish audio and optional Spanish subtitles, not even the trailer. So then the British disc came along and at least trumped the Spanish disc. There is still no Region 1 disc at all.
Angel Digital 2005 DVD on top; BFI 2012 DVD bottom.
Not hard to pick a winner here, is it? Let's count the differences. 1) The AD disc is in the wrong aspect ratio. It's 1.85:1, as opposed to the BFI's 2.35:1 disc, which gives us a ton more info on the sides. 2) The AD is very faded and washed out, compared to BFI's deep colors. 3) Oh boy, is that some nasty interlacing in the first shot of the AD disc! BFI, of course, doesn't have this problem. 4 and on) I suppose I could get into the fine details of the bootleg not having true blacks, etc; but its lesser quality is so obvious, there's no reason to nitpick. Maginn did what he could with his home equipment and low quality source elements. There's a reason I hang onto the bootleg, and it's not related to the picture quality.
The infamous "rape of Christ"
And if you're astute, you may've noticed that the bootleg was 1.85 in the lower comparison shots, but much wider in the logo shot. That's because most of the boot is 1.85, but it switches over to a 2.28:1 or so whenever the uncut footage is inserted. But the fact that it is inserted is why this disc is still valuable; no other release has this footage. Although, it has to also be said, that there is still footage missing even from this version, including a rather dark scene with Vanessa Redgrave and a bone that comes too near the film's conclusion for me to spoil, but you'll know if you've seen it.
And I mentioned the Angel Digital disc actually had extras, right? Pretty impressive for a bootleg, but it shows you it was assembled by somebody who actually cared (as opposed, say, to the official Warner Bros release). The main feature is Hell On Earth, the 50-minute BBC documentary Kermode made when he first discovered the lost footage back in 2002. This tackles the censorship and found footage, but also the film as a whole, and interviews many of the key players, including the stars, producer Roy Baird and Russell himself. There's a five-minute featurette called Year of Censorship, which interviews several critics and Russell himself about the film's controversy. This and the next featurette, UK Censors, which interviews the group that protested The Devils back in the 70s, seem to be an excerpt from a longer television program. Finally, there's an interview with British television director James Ferman about the censorship, and the film's trailer.
That was pretty great, but the BFI has put together a spectacular 2-disc set with even more features. And first of all, yes, they have the Hell On Earth documentary, too. But at Warner Bros insistence (thanks again, jerks), it's an edited version, missing the footage Maginn used to make the composite cut in the first place. But BFI has come up with so much more! Two of the coolest features is a vintage, 21-minute behind-the-scenes 'making of' documentary, and an audio commentary by Ken Russell himself! Unfortunately, he recorded the commentary to the full director's cut of the film, so this commentary had to be cut, too (did I say "thanks again, jerks" yet?). Still, if you've ever heard a Russell commentary track, you know his are some of the best, and this time he's joined by Kermode, editor Michael Bradsell and Paul Joyce (director of the Hell On Earth doc).

In addition, Kermode provides an intro to the film, Bradsell narrates some home-made behind-the-scenes footage he shot during the original filming, and there's a 13-minute Q&A panel with Ken Russell. There's a previously unreleased early short film of Russell's called Amelia and the Angels, which wasn't that great, but is nice to have as a piece of history. There are also British and American trailers, and a rather thick, 40-page booklet full of notes, photos and essays by Kermode, Bradsell and Craig Lapper.
So that's a pretty sweet package, but obviously we still desperately need the director's cut, which has been sitting on a shelf, completely restored, for about twelve years now. Oh, and it would be nice to get this film in HD as well. Apart from everything else, Warner Bros wouldn't let the BFI issue a blu version of this release, just DVD. Why? Just as a final middle finger us fans of their film? Seriously, shame on you, Warner Bros. It's one thing not to release a film yourselves, what with the costs involved etc. But to specifically and consistently stand in the way of The British Film Institute from releasing it? What is going on over there? Then again, The WB got a new CEO in 2013, so maybe it's time for Kermode and Co. to knock on their door again.

Also Importing Lars von Trier's Manderlay

Ever since I covered Lars von Trier's Dogville, I've been meaning to swing back and take a look at Manderlay. It's kind of the same situation, where there is no blu-ray, only DVDs, and the US DVD is missing a bunch of features from the previously released native Denmark set from Zentropa and Nordisk Films. And Zentropa beat them by a large margin of almost a year. I remember people were buzzing about Manderlay opening up in theaters soon, and I was surprised because I already had the DVD at home. But is this import DVD truly 100% superior? Should you track it down and replace your IFC Films DVD?
Manderlay is the second part of his "Land of Opportunities" trilogy (Dogville being the first), and it's interesting to note that both of Trier's narrative trilogies to date - the other being The Kingdom - have only made it to the second chapter. Fortunately, unlike The Kingdom I & II, these are more distinct stand-alone stories, so you don't feel like you're left at a dangling cliffhanger by the end of this film. But the connection to the first film is strong. It's presented in the same style, with all the actors placed on a mostly blank stage with only the props essential to the story and locations marked on the floor. And while Nicole Kidman has been replaced by Bryce Dallas Howard (who isn't quite as compelling in the part, but still more than adequately lives up to the film's dramatic challenges), the lead character persists, having left the town of Dogville and arrived on the estate of Manderlay.  Lauren Bacall, Chloë Sevigny, Jeremy Davies and Udo Kier are all back, and John Hurt once again narrates.
If Dogville offended some Americans, Manderlay doubled-down, this time tackling race issues and slavery, and not necessarily in the most politically correct way. Leaving Dogville, Howard and her gangster family drive into Manderlay and stop to take a rest at what they discover to be a plantation where slavery exists despite the film taking place in the 1930s, long after it had been abolished in this country. Howard is appalled and decides to stay with her lawyer and a few of her family's gunmen long enough to set things right at Manderlay. But obviously things don't fall into place as smoothly as she'd imagined, and we delve into commentary on cultures imposing their way of life on other cultures (i.e. spreading Democracy), the contemporary state of African Americans being in some ways worse than slavery, and of course all the wild layers of interpersonal drama that you can expect in a Trier film.

We've got some great additions to the cast this time around, including Danny GloverIsaach de Bankolé and Willem DaFoe. And while reactions to this film weren't quite as strong as the previous, because the look and style of the film wasn't so new and innovative, I think that actually puts us in a better place to appreciate both films. Now we're left in a position to appreciate the film on its narrative and other qualities, as opposed to its novelty value. And fortunately, it's a pretty smart and engaging film underneath its unusual presentation.
2006 IFC DVD on top; 2005 Zentropa DVD on the bottom.
These transfers look pretty dang similar. Both are anamorphic widescreen images, although IFC's is a smidgen more open, at 2.32:1, giving us a sliver extra vertical information. Although Zentropa's framing is probably the more accurate composition. The main difference, though, is that IFC's DVD is a hair brighter and redder, and Zentropa's is a touch smoother and more yellow. Whether that smoothness is a pro or a con, though, is a tough call, because it's not faithful grain that we're getting on the IFC disc, since this film was shot digitally. So is Zentropa better for having less digital noise, or is it too scrubbed? I'm inclined to say the former, because they both still have digital artifacting and haloing, so it's nothing good that we're losing. And the difference is pretty minimal, anyway, to the point that you'd only notice it in direct close-up comparisons like this anyway. It's basically just like the differences between the two Dogville discs, except they're more subtle and minimal here. Basically, for SD transfers, they're both fine and would rate basically the same grade on a scorecard.

Both discs offer 5.1 Dolby Digital tracks, though only Zentropa also offers a 5.1 DTS mix. On the other hand, only the US disc offers English subtitles, whereas Zentropa has optional Swedish and Danish subs.
Oh, and did I refer to Zentropa's release as a "set" earlier? Yeah, that's because, unlike IFC's release, theirs is a 2-disc set, with an entire second disc devoted to additional special features. And the US DVD has bupkis. Bub. Kis. At least the US DVD of Dogville had the commentary, but not Manderlay. We didn't even get the trailer.

And there is a commentary. Lars von Trier and cinematographer Anthony Dod Mantle jump onto the Zentropa DVD for a great forthcoming and irreverent discussion, that drifts from the technical to anecdotes with the cast and themes behind the story. You get that, brief interviews with Bryce Dallas Howard, Isaach de Bankolé, Danny Glover and Willem Dafoe, plus, yes, the trailer, all on disc 1. Again, the US DVD has nothing.
And disc 1 is just the beginning! Open up the case for the Zentropa set and staring you in the face is a second disc cheerfully labeled "ADDED VALUE." And I'll certainly go along with that, because this disc is packed. First we get two documentaries, which combined add up to feature length: The Road to Manderlay, a traditional but in-depth 'making of,' and The Cannes Experience: Manderlay, which is pretty self-explanatory. Then there's an excellent featurette showcasing the complex shooting method they used to film this picture using cameras in arrays. There's another featurette on the set design (uniquely important, of course, in the case of Dogville and Manderlay), and a short silly one about actor Jeremy Davies running around fetching coffee for everybody on set.

And don't get up yet, there's plenty more. There are short, on-camera interviews with Danny Glover (not the same one as on disc 1), Willem Dafoe (also different from disc 1), Lauren Bacall, Joseph Mydell, Anthony Dod Mantle and producer Vibeke Windelov, plus a long one (23 minutes) with Trier himself. Then there's a half-hour Danish television piece on Manderlay, which is essentially one giant sit-down interview between Trier and their host. And finally, there's a collection of three filmed press conferences for the film, one with Trier, one with Howard, and one with Bankole, Glover and DaFoe all together, which add up to about 50 minutes of additional interviews. There is so much here, you are not going to want to attempt it in a single evening.
Manderlay was shot with HD cameras, so a blu-ray would be nice to see sometime in the future. But there's nothing on the horizon so far, and I imagine this title's pretty low on anyone's list of priorities. After all, if the studio considered this a high profile title, they would've bothered to at least include the extras that were already created and released for this film. So we'll have to make due with DVDs, but we don't have to make do with a boring, plain old barebones American DVD. The Danish set is the very definition of a fully loaded special edition, and the differences between the two transfers are so subtle you have to push yourself to pick a side. So unless you need English subtitles, there's really no reason to hang onto the cheap native disc. And even then, I'd recommend double-dipping.

Bride of Re-Animator: It Keeps Getting Better

Update 8/13/15 - 6/27/16: Adding Arrow's 3-disc limited edition blu-ray/ DVD set to the mix. Let's see wow does this stacks up against Capelight's own 3-disc limited edition blu-ray/ DVD set. Prepare for a crazy long list of matching screenshots...

A couple months ago, I posted about how the German blu-ray company Capelight brought Re-Animator back to life with a stunning new transfer. Well, they've done an equally definitive job for its delicious sequel, Bride of Re-Animator. Now, they didn't do an "Integral Cut" this time, because that wouldn't really make sense for this film (I'll explain that more later), but they issued Bride a beautiful new transfer that blows all past releases out of the water. It helps, this time, that this is Bride's only blu-ray release, so the competition is weaker. But this new transfer would impress regardless of what else was out there.
Brian Yuzna, producer of the original Re-Animator, takes over for director here, and he does a great job of matching the tone and level of Stuart Gordon's previous work. This never feels cheaper or hackier, although, as with almost any sequel, the story does rely on a little more spectacle and a little less heart. It helps immeasurably that lead actors have all returned to reprise their roles that they'd already mastered in the first film. Even David Gale is back, despite having been decapitated in the previous film. He's now got himself a fresh pair of bat wings to fly his head around in one of the more ingenious touches that make this sequel so worthwhile. He even opens the film by addressing the audience directly, in a macabre homage to the work of old school horror meisters like William Castle. Only Barbara Crampton, disappointingly, missed the reunion, but Yuzna does a good job of writing around her character, so the actress replacing her doesn't face a whole lot of scrutiny. He also goes back to Lovecraft's original story, using a lot of what happened in there that the original film skipped over, giving the film a very legitimate, sturdy groundwork. I can agree with critics that this isn't as great an all-around film as the first one; but I couldn't accept that this isn't another wonderful time at the movies.
So, Bride of Re-Animator has always been in the hands of Artisan and Lions Gate here in the USA, which isn't the most promising set of names. Artisan first released this in 1999 as a pretty nice double-sided special edition, which was a terrific step up from Image's generic, full-screen laserdisc. It had both the R and unrated cuts, in both fullscreen and widescreen, and a huge selection of extras. It was great for 1999, but unfortunately has remained our definitive edition well past its shelf life, when Capelight eventually stepped in last year. What was fine for 1999 looked pretty shoddy after the advent of widescreen televisions - Whoops! This disc isn't even anamorphic.
So there's your non-anamorphic picture, surrounded on all four sides by black, unused space. Artisan did that weird way of using the same encode of the film as both the wide- and full-screen version of the film by making the mattes removable bars like subtitles. So there's just two encodes of the film (R on one side, unrated on the other) on the disc, but the removable matting turns it into four versions of the film. If you look closely at the screenshot above, at the very top and bottom of the image you can actually see the film above and below the matting!

Artisan reissued the film in 2003 as a generic, fullscreen single-sided disc with none of the extras... Gee, thanks for that. And the film eventually became just another title in one of Lions Gate's Horror Collection multipacks in 2012. Suffice to say, this film was very much in need of a new blu-ray edition, but you know Lions Gate doesn't like to let their catalog titles out to breathe. So we have to look overseas for our upgrade. Capelight finally provided that with a fully loaded, 3-disc media book edition in 2014. Then Arrow came out with their own 3-disc set in 2016. So now we've got some dueling HD options to explore.
Capelight's R-rated blu 1st, unrated blu 2nd, and unrated DVD 3rd. Then Artisan's R-rated
matted version is 4th, R-rated unmatted 5th, unrated matted version 6th and unrated unmatted 6th,
Next, Arrow's R-rated blu is 7th, unrated blu is 8th and unrated DVD is 9th.
Whoo, yeah, just a couple versions to compare there. Maybe a bit excessive, but you know me, I've gotta be thorough, so I've included both R and unrated versions of the film in all the ways it's been presented on both the original Artisan DVD, Capelight's 3-disc set and Arrow's 3-disc set. Essentially, Arrow is using the same 2014 restoration transfer as Capelight, so they're awfully similar. They use a new 2k scan of a second generation intermediate interpositive for the R-rated version and almost all of the unrated version, but the excised unrated elements had to be sourced from master print, which looks almost as good, but those moments do wind up looking a bit flatter than the rest of the movie.

But just look at how much sharper and clearer the new blu-ray transfers are. Both Artisan and the newer blus matte the transfer to 1.78:1 (excluding Artisan's fullscreen versions, of course), but the blu-rays' new 2k scan of the original film elements manages to include a little more picture on the top and left sides. Their new color timing seems to be the most natural, as you'd probably expect, but what I was surprised to find out is how different Artisan's colors were between their R and unrated cuts. Look at the buildings in the first collection of shots - is the building red or yellow? Both seem too extreme, pulling in different directions, with Capelight and Arrow having found the happy middle that looks best. They also un-crush some blacks, uncovering hidden detail.
Now, Capelight has provided an uncompressed 2.0 English audio track, but unfortunately it seems a little troubled. There's some of fuzz behind it (on both cuts), that goes away during moments without dialogue or music, which suggests they've cleaned up a bad audio track with a noise gate or something. The German dubs are perfectly fine, if you care about those. The English track isn't unlistenable - it doesn't make dialogue hard to understand or anything - but it's definitely not clean, and therefore a disappointment. Optional English and German subtitles are also included.

So the question for 2016 is: did Arrow fix the audio fuzz? Yes! But their LPCM stereo track still isn't perfect. I guess the original audio elements are just messed up. So Arrow had to clean up noisy audio, which sounds a lot better, but not as clean or dynamic as audio that wasn't damaged in the first place would. It's certainly superior to Capelight's, though. If you have the Arrow set and are curious how the Capelight sounded, listen to the Brian Yuzna solo commentary. There are a few moments where he pauses and they boost the volume of the film to normal, and you can plainly hear that they've got the Capelight fuzzy audio track playing. English subtitles are also included.
Far less trivial is the excellent collection of extras. It's not quite as fully-loaded as the original on the one hand, there's a distinct lack of on-camera interviews, but on the other hand, there are two audio commentaries that bring in pretty much all the relevant personnel: Brian Yuzna, stars Jeffery Combs & Bruce Abbott, and the incredible special effects roster of Tom Rainone, John Buechler, Mike Deak, Bob Kurtzman, Howard Berger & Screaming Mad George. There's also a 23+ minute making of featurette, two behind-the-scenes clips, and the trailer. All of that was on Artisan's disc and all of that has been ported over to Capelight's edition. Capelight has also added a couple extra bits and pieces, including an hour-long radio play of the Lovecraft's original Re-Animator story. There's also a podcast, but that's in German only. Everything on Capelight's 3 discs is English friendly except for this podcast and a couple bonus trailers. Then the only other extra is a restored version of the opening credits of the original Re-Animator, which... yeah, I have no idea why that's here.
And Arrow? Do they have any cool features? Ha ha, what are you nuts? Of course! They have everything Capelight has, except the German podcast, radio play, bonus trailers, and the credits from the original film. For English speaking audiences, the only loss worth noting from that list is the radio play, and even that's not a big hit. But they've also added some cool, new content. First, they have a new audio commentary by Yuzna. Now, he was already on the one older commentary, but he didn't get a lot in compared to all the effects people. So there are a few repeated anecdotes, but most of his commentary his new and insightful - one thing he fills us in on a lot is how Bride compares to the Lovecraft stories. Then there's a new on-camera interview, where he talks a bit about the House of Re-Animator idea and some other interesting tidbits. Again, a little repetition, but also plenty of new content. And finally, there's a featurette on the effects which talks to just about everybody who worked on any of the many wild gags in this film, and any more time spent with Screaming Mad George is a big plus in my book.

So that's it for disc content, but as you can see in the photo above, Arrow also went all-out on the deluxe packaging, including some serious physical content. Primarily, there's an attractively bound copy of the Dawn Of Re-Animator comic books from the 90s, including the full color covers. There's also a 24-page booklet on the film with notes by Michael Blyth, one of Arrow's traditional postcards of the film, and it all comes in a cool (if a un-sturdy) slip-cover box. Plus, if you ordered this from Diabolik, you also got a very neat Bride of Re-Animator pen, designed to look like a hypodermic needle full of green re-animation fluid.
So, why no integral cut this time? Well, for one thing, the original film was an unusual case where both the unrated and R-rated cuts had some exclusive, great - nearly essential - footage. In this case, the two editions are much more similar, with the R just being the traditionally slightly censored version. So the unrated already is the definitive version of the film. Also, what changes that were made for the R-rated cut isn't a question of extra or missing shots, but alternate shots. So scenes wouldn't make sense if you combined all the footage together. So, that's what's cool about the 3-disc media book editions; they give you the R-rated cut for the serious completists who want to have it for the minor variations. But otherwise, the original unrated cut is the only version you need.
Both Bride of Re-Animator's blu-ray releases are pretty sweet, but unless you only speak German, I'd say Arrow's wins. It has better audio and some nice, new extras. Artisan's old DVD still gets minor novelty points for having the open matte transfer, for those curious to see the extra information the film has in the wrong aspect ration. I'm slightly disappointed neither Capelight or Arrow opted to sneak another old VHS version transfer as an easter egg; but of course, it's really a trivial matter either way.

I should also point out that Arrow and Capelight both offer regular versions of their 3-disc limited edition sets. Capelight's is a single disc release of just the unrated version, and all the extras. And Arrow's is a combo-pack of the unrated blu and unrated DVD. That has almost all of the extras (not including the physical stuff, of course), except for the fifteen minute reel of behind the scenes footage, which is only in the limited set.  In both cases, the R-rated cut is only available in the 3-disc sets.

So, ultimately, Arrow's is the superior set, but not by a large margin. The transfers are the same, though they cleaned up the audio a bit better. And their extras package is better, but the older editions were already pretty loaded. Fans should be pleased with either set, and while you might consider replacing your Capelight set with the Arrow set, I'd rate that as a low priority. But if you haven't gotten any yet and are deciding which way to go, Arrow's the easy and correct choice.