Review Detail
9.9 3 10
Overall rating
9.3
Audio/Video Quality
10.0
Audio Editing
9.0
Visual Editing
9.0
Narrative
9.0
Enjoyment
10.0
AMAZING!!!
It is incredible how the Bernstein score both perfectly fit and transformed the source material. As I watched and the new score washed over me, I was transported back to the 1960s, to the bygone era of some Hollywood's finest WWII films -- The Dirty Dozen, Where Eagles Dare and, of course, The Great Escape. There are so many brilliant moments through out this edit, where the new music either seamless matches the mood or enhances it to a new, fresh level. One of the best examples of this is when Landa strangles Bridget -- you would swear the music was created specifically for that scene.
Every new music choice fits wonderfully. Though I thought the score was a tad loud during the Mexican Stand Off, as it occasionally made Aldo's dialogue challenging to clearly discern.
As someone who has tentatively dipped his toe in the audio replacement/rebuild pool, I am awe struck at the sheer amount and intricate foley work that had to be done throughout this project. It is an impressive achievement. And when a project is this intense, it easy for an occasional foley hiccup to occur. As I noticed there was a water splash sound effect around the 3 minute mark when Landa and LaPadite are talking outside.
The new desaturated opening was an astute choice and really adds to the mood and the sense of foreboding. It is extremely difficult to make colour footage look like authentic Black & White but Wraith has done an admirable job. However, I noticed some of the subtitles briefly took on a slight grey tint, making them difficult to read when against a dark or grey background.
The cutwork is mostly tight and the jettisoned material makes for well paced, tense new narrative. Though I think Zoller may have been cut back a wee too much. This becomes apparent during the Parisian restaurant meeting, as there are a couple abrupt cuts where Goebbel's subtitles are too brief and I momentarily lost all sense of character geography when Shosanna suddenly appears by Zoller at the table.
In the end, I thoroughly LOVED this edit! I know Wrath has another version forthcoming, same cut but this time with a score by Morricone, which I am sure will be equally great, but at this moment, it is hard imagine anything surpassing this one. But that is the magic and power of music!
Bravo Wrath! Highly recommended!
It is incredible how the Bernstein score both perfectly fit and transformed the source material. As I watched and the new score washed over me, I was transported back to the 1960s, to the bygone era of some Hollywood's finest WWII films -- The Dirty Dozen, Where Eagles Dare and, of course, The Great Escape. There are so many brilliant moments through out this edit, where the new music either seamless matches the mood or enhances it to a new, fresh level. One of the best examples of this is when Landa strangles Bridget -- you would swear the music was created specifically for that scene.
Every new music choice fits wonderfully. Though I thought the score was a tad loud during the Mexican Stand Off, as it occasionally made Aldo's dialogue challenging to clearly discern.
As someone who has tentatively dipped his toe in the audio replacement/rebuild pool, I am awe struck at the sheer amount and intricate foley work that had to be done throughout this project. It is an impressive achievement. And when a project is this intense, it easy for an occasional foley hiccup to occur. As I noticed there was a water splash sound effect around the 3 minute mark when Landa and LaPadite are talking outside.
The new desaturated opening was an astute choice and really adds to the mood and the sense of foreboding. It is extremely difficult to make colour footage look like authentic Black & White but Wraith has done an admirable job. However, I noticed some of the subtitles briefly took on a slight grey tint, making them difficult to read when against a dark or grey background.
The cutwork is mostly tight and the jettisoned material makes for well paced, tense new narrative. Though I think Zoller may have been cut back a wee too much. This becomes apparent during the Parisian restaurant meeting, as there are a couple abrupt cuts where Goebbel's subtitles are too brief and I momentarily lost all sense of character geography when Shosanna suddenly appears by Zoller at the table.
In the end, I thoroughly LOVED this edit! I know Wrath has another version forthcoming, same cut but this time with a score by Morricone, which I am sure will be equally great, but at this moment, it is hard imagine anything surpassing this one. But that is the magic and power of music!
Bravo Wrath! Highly recommended!
User Review
Do you recommend this edit?
Yes
Format Watched
Digital
Comments
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I have removed the stray water audio and adjusted the music in several places to address your observations.
many thanks
W