- Soldes & Bons Plans Découvrez toute notre sélection en solde du 28 juin au 8 août inclus et profitez de nos bons plans !
- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Retrouvez encore plus de titres dans notre boutique Blu-ray !
- Mises à jour de votre logiciel d'exploitation (firmware): vous rencontrez des problèmes avec votre lecteur ? Certains films ne sont pas lus correctement ? Avez-vous vérifié que le logiciel d’exploitation de votre lecteur Blu-ray est correctement mis à jour? Cliquez ici
Offres spéciales et liens associés
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Description du produit
Description du produit
Regarded as one of the crowning achievements in the career of both director Elia Kazan (A Streetcar Named Desire, On the Waterfront) and actor Montgomery Clift, Wild River charted new territory for cinema at the dawn of the 1960s, combining psychology, eroticism, documentary realism, and exquisite pictorial beauty within the CinemaScope frame.
In the early 1930s, an administrator for the Tennessee Valley Authority (Clift) arrives in the small town of Garthville with the business of convincing an elderly landowner to sell her land to the government. Soon afterward, he s thrown into conflicts emotional (falling in love with the landowner s widowed granddaughter, played by Lee Remick, who is expected to marry another man) and societal (the employment of black labour on the authority s river project).
With its mix of the personal and the political, Wild River, in the words of critic and scholar Adrian Martin, shows us that "there is only, in each case and circumstance, the particular problem, the isolated breakthrough, and the irretrievable loss. The Masters of Cinema Series is proud to present Wild River in a special Dual Format edition that presents the film on Blu-ray for the first time in the UK.SPECIAL DUAL FORMAT (BLU-RAY + DVD) EDITION including:
- New 1080p transfer of the film on Blu-ray, with a progressive encode on the DVD
- Optional English subtitles for the deaf and hard-of-hearing
- New feature-length audio commentary with critics Glenn Kenny and Farran Smith Nehme
- Original theatrical trailer
- Gallery of behind-the-scenes and production stills
- 32-PAGE FULL COLOUR BOOKLET featuring a new essay on the film by critic Adrian Martin, remarks about the film by director Elia Kazan, and rare archival imagery
Il governo degli Stati Uniti, che ha deciso la costruzione di alcune dighe lungo il corso del fiume Tennesee, invia, a Garthville, Chuck Glover per seguire l'espropriazione di alcuni terreni. Ma un'anziana contadina, Ella Garth, rifiuta categoricamente di cedere la propria terra nonostante l'ingente somma offertale. Intanto Chuck si innamora della nipote di lei, Carol, e l'aiuta a costruire una casa. I tentativi di portare a termine l'esproprio portano grande scompiglio in città e profondo rancore nei confronti di Chuck la cui casa viene completamente distrutta. Alla morte di Ella, la proprietà viene venduta, e i due promessi decidono di ricominciare altrove una nuova vita. --Ce texte fait référence à l'édition DVD.Voir l'ensemble des Description du produit
Meilleurs commentaires des clients
WILD RIVER / LE FLEUVE SAUVAGE DANS L'ŒUVRE DE KAZAN Elia Kazan a, on le sait, eu deux ou trois carrières. Après son témoignage auprès de la commission des activités anti-américaines présidée par McCarthy, il a de plus en plus nourri son cinéma de sa culpabilité, tout en refusant de s'excuser pour un acte qu'il refusait de voir comme ignoble. En fait, plus que de culpabilité, ce sont les extraordinaires tensions et clivage présents au sein de cet homme révolté, à la fois sûr de lui et conscient de ses propres contradictions, qui ont de plus en plus été les catalyseurs de ses films dans les années 60 et 70. Ceux-ci sont sans conteste les plus beaux de son oeuvre, et sans doute parmi les plus beaux de tout le cinéma américain. Dans l'ordre: On the Waterfront / Sur les quais, Splendor in the Grass / La Fièvre dans le sang, Wild River / Le Fleuve sauvage, America America et L'arrangement. Sans compter A Face in the Crowd / Un Homme dans la foule et Viva Zapata, deux très beaux films eux aussi.
Ce qui relie ces films, c'est sans doute cette tension que j'ai déjà notée et qui se retrouve dans le sujet et la forme même du film. Le couronnement de cette oeuvre et de ce questionnement de plus en plus virulent, c'est L'Arrangement, ce film magnifique d'impudeur et en même temps si loin des ornières de ce qu'on appelle aujourd'hui l'autofiction. Car Kazan passe toujours par le récit, les personnages, la transposition fictionnelle pour parler de lui, de ce qui l'anime et de ce qui le remue. Ce grand névrosé est aussi un lyrique, et c'est dans le dyptique que forment La Fièvre dans le sang et le Fleuve sauvage que cela est le plus évident, même si cela se voit aussi évidemment dans les autres films, en particulier America, America et L'Arrangement.
Dans La Fièvre dans le sang, les amours des deux tourtereaux à qui tout devrait réussir, joués par Natalie Wood et Warren Beatty, deviennent impossibles à cause de névroses individuelles qui sont intimement liées aux névroses sociales. Les névroses, en particulier sexuelles, sont toujours envisagées sous l'angle social, la Dépression succédant à la dépense des années 20, les conventions et l'hypocrisie accompagnant ce mouvement inéluctable qui menace d'écraser les individus. Pourtant, ce film traversé de tensions fortes se termine sur une des scènes les plus apaisées de tout le cinéma de Kazan, une des plus bouleversantes aussi.
Le Fleuve sauvage, qui se passe lui pendant la Dépression, est tout entier lyrique et apaisé comme cette dernière scène de La Fièvre dans le sang, quand bien même il serait lui aussi consacré à montrer des affrontements, individuels et collectifs. Le jeu de Montgomery Clift, qui n'était plus le jeune premier qu'il était quelques années auparavant et qui était déjà souffrant, accentue la façon qu'a Kazan d'envisager les conflits, bien réels et pourtant en partie désamorcés. A vrai dire, on ne peut pas ne pas penser à Tchekhov en voyant Le Fleuve sauvage, et en particulier à la Cerisaie, beaucoup plus qu'on ne pense aux dramaturges américains, comme Tennessee Williams, adapté à plusieurs reprises par Kazan auparavant. Proximité du récit, mais aussi cruauté et mélancolie, souvent en mineur. Le Fleuve sauvage peut presque être vu comme une adaptation de La Cerisaie, si ce n'est bien sûr que la propriétaire du lieu n'est en l'espèce absolument pas une riche désargentée, la pauvreté rongeant plus que jamais les habitants de l'île qui doit être évacuée. En revanche, la mélancolie qui se dégage de la fin du film et qui a trait à la disparition d'un monde, est elle très semblable.
Il s'agit d'un film magnifique, qui offre en outre aux trop rares Jo Van Fleet et Lee Remick parmi les plus beaux rôles de leur carrière. Dans l'édition française comme dans l'édition américaine, il est restitué dans une copie de grande qualité, même si le scope ne peut que perdre de sa portée sur un écran de télévision. Ce film n'étant que peu souvent réédité, il faut néanmoins profiter de l'édition en dvd pour le découvrir. C'est sans doute un des films les plus apaisés de Kazan, un des plus beaux aussi, à voir absolument après La Fièvre dans le sang, et à poursuivre par les deux films plus apparemment personnels mentionnés plus haut. Les voir tous les quatre permet de mieux connaître Kazan, auteur majeur qui ne peut être réduit à un seul acte de sa vie, mais dont on peut comprendre à quel point il a rendu son cinéma meilleur, le nourrissant de tensions qu'il a peu à peu réussi à canaliser, leur donnant une forme fictionnelle magnifique.
ÉDITIONS L'édition dvd française Carlotta - Le Fleuve sauvage - étant épuisée depuis belle lurette, il reste la solution d'acquérir une édition américaine pour peu qu'on puisse lire les zone 1 / A. Qu'il s'agisse du dvd - Wild River - Import USA Zone 1 - ou du blu-ray - Wild River - blu-ray - il y a une piste sonore en anglais et des sous-titres en anglais ou en français au choix. Le master utilisé est excellent, et le format CinémaScope respecté. La qualité d'image et de son n'a rien à envier à la précédente édition française, et dans le cas du blu-ray elle est même un bon cran au-dessus. L'édition américaine propose également un commentaire audio de Richard Schickel, l'auteur de la très bonne biographie d'Elia Kazan, non encore traduite en français : Elia Kazan: A Biography.
À toutes fins utiles, rappelons également les ouvrages suivants, tous très intéressants à des titres divers : en anglais, Kazan on Kazan et Kazan on Directing ; en français le petit livre de Florence Colombani Elia Kazan et pour avoir les propos de Kazan les indispensables Kazan, Losey : Edition définitive et Une Odyssée américaine par Elia Kazan de Michel Ciment.
Montgomery Clift stars as a Government Agent who arrives in Garthville, Tennessee, upstream from a newly constructed hydroelectric dam of the Tennessee Valley Authority, and Chuck Glover [Montgomery Clift] must evacuate a small town to make way for the new hydroelectric dam, to head up the TVA's land purchasing office after its previous supervisor abruptly quit. When an elderly matriarch refuses to leave, Chuck Glover [Montgomery Clift] falls in love with her granddaughter, played by Lee Remick. Boasting superb performances and masterfully crafted images, this classic film from acclaimed director Elia Kazan reaches new heights on the Blu-ray disc.
FILM FACT: Academy Award® Winning director Martin Scorsese ‘The Departed’ called ‘Wild River’ one of Elia Kazan’s best films and spearheaded its restoration. Exterior locations for Wild River were filmed on Coon Denton Island on the Hiwassee River, upriver from Charleston, Tennessee; in the town's old business district; and on a peninsula west of Cleveland, Tennessee, on Chickamauga Lake. A studio for interior shooting was also created in the Cleveland armoury.
Cast: Montgomery Clift, Lee Remick, Jo Van Fleet, Albert Salmi, Jay C. Flippen, James Westerfield, Barbara Loden, Frank Overton, Malcolm Atterbury, Mark Anthony (uncredited), Ross Apperson (uncredited), Big Jeff Bess (uncredited), James Campbell (uncredited), Donna Carnegie (uncredited), Mike Dodd (uncredited), Bruce Dern (uncredited), Robert Earl Jones (uncredited) and Pat Hingle (Narrator voice uncredited)
Director: Elia Kazan
Producer: Elia Kazan
Screenplay: Paul Osborn, Borden Deal (novel) and William Bradford Huie (novel)
Composer: Kenyon Hopkins
Cinematography: Ellsworth Fredricks, ASC
Video Resolution: 1080p [Color by Deluxe]
Aspect Ratio: 2.35:1 [CinemaScope]
Audio: English: 1.0 DTS-HD Master Audio Mono, English: 2.0 Dolby Digital and Spanish: 2.0 Dolby Digital
Subtitles: English SDH, Spanish and French
Running Time: 110 minutes
Region: Region A/1
Number of discs: 1
Studio: 20th Century Fox Home Entertainment
Andrew’s Blu-ray Review: Elia Kazan directed some of Hollywood's most renowned, intelligent and beloved pictures, Academy Award® winning Oscar for 'Gentleman's Agreement' and 'On the Waterfront,' and also earning an Academy Award® nominations for 'A Streetcar Named Desire,' 'East of Eden,' and 'America, America.' Yet surprisingly, of the 21 films in Elia Kazan's rich canon, the one the director regarded most fondly during his lifetime is one of his least successful and most obscure. 'Wild River' registered barely a blip on the cinema radar when it was released in 1960, but like almost all Elia Kazan works, it brims with authenticity, brandishes a passionate spirit, and transmits a depth of understanding of the human condition. Though the methodical and some might say slow presentation and dreary subject matter might put off some viewers, treasures abound in almost every frame of this fine film, thanks to the nuanced performances of a first-rate cast and keen eye of a supremely committed director.
A study of the toll progress exacts on the people of rural America, 'Wild River' tells the simple tale of a stubborn old woman's valiant effort to keep her house and land after she's informed by the fledgling Tennessee Valley Authority she must vacate the premises so a dam can be built to stem the raging tide of the Tennessee River and protect the state from the ravages of incessant flooding that for decades has destroyed property and taken countless lives. As Ella Garth [Jo Van Fleet] digs in her heels, exasperated officials call on TVA agent Chuck Glover [Montgomery Clift] to forcibly evict her, but as the initially detached bureaucrat begins to relate to the community and connect with Ella Garth's shy, widowed granddaughter, Carol Garth Baldwin [Lee Remick], he gains a greater understanding of the impact of the government's actions and an affinity for the people effected by them.
Socially conscious films, especially those with deep human elements and complex characters fighting inner demons and struggling to achieve a degree of peace, were Elia Kazan's specialties, and 'Wild River' fits snugly into this niche. Ever since he visited Tennessee in the mid-1930s, Elia Kazan tossed around the idea of a New Deal film, but it took 25 years for it to come to fruition. Though by 1960 its topicality had passed, the themes of 'Wild River' where a lone soldier taking a stand against the establishment, resistance to change, tolerance and acceptance, and the redemptive power of love - remain relevant, and, as a result, the film seems far less dated than other pictures from the period.
'Wild River' opens unconventionally, with an extended, gut-wrenching clip from a 1930s newsreel in which a grieving father recounts how his three young children were swept away by the river's turbulent current. We see a house ripped from its foundation, submerged cars, and rapids more intense than those rushing through the Western wilderness. The stark documentation puts us squarely in the government's corner, but leaves us unprepared for Ella Garth's steely resolve. Hers is a heart-breaking story, too, and the likelihood of a happy ending is dubious at best. "Rugged individualism is our heritage," Chuck Glover says. "We applaud that spirit, we admire it, we believe in it, but we've got to get her the hell out of there!" And, in a nutshell, that's the conflict.
Yet more than a tug-of-war over land, rights, and an uncertain future, 'Wild River' is a tender love story between two vulnerable, emotionally crippled people. Chuck Glover reawakens Carol Garth Baldwin's spirit, while she helps him reclaim the tenderness and compassion his by-the-book profession has quashed. Elia Kazan has always been a master at depicting such fragile relationships, from Blanche and Mitch in 'A Streetcar Named Desire' and Terry and Edie in 'On the Waterfront' to Cal and Abra in 'East of Eden' and Bud and Wilma in 'Splendor in the Grass,' and though this union is far less famous, it's equally affecting and underplayed to perfection by Montgomery Clift and Lee Remick. A few sensuous scenes add an extra layer of urgency to the plot, as well as an ironic twist: Chuck Glover comes to Tennessee to try and tame the wild river and vanquish Ella Garth's intractability, but neither Chuck Glover nor Carol Garth Baldwin can stop their mutual passion for each other. Which begs the question: When we subdue something wild, are we performing a benevolent act or simply sucking the life out of a living organism? Progress is necessary, but does the cost outweigh the benefit?
Along with Marlon Brando and James Dean, Montgomery Clift was regarded as one of the finest actors of the 1950s, and here he turns in the kind of natural, sensitive, exquisitely detailed performance for which he is best known. His slightly stooped posture, intent gaze, and hesitant speech pattern all work to his advantage as he crafts a portrait of a resolute man who, much to his dismay becomes conflicted and indecisive. Watching Montgomery Clift disappear inside a character is always a fascinating and rewarding experience, and 'Wild River' provides the tortured star with one of his last great roles.
The always lovely Lee Remick is a strong presence, too, and she exudes a striking luminosity that enhances her character's soft-spoken nature and fiery spirit. An internal ache for human contact drives Carol Garth Baldwin into Chuck Glover's arms, and Lee Remick beautifully projects the longing and hopelessness that consume her. Her scenes with Montgomery Clift bubble over with gentle warmth that never belies the desire simmering beneath the surface. 'Wild River' isn't classified as a great love story, but the script's palpable romantic elements add substance and complexity to what otherwise would be a rather dry, depressing tale.
Jo Van Fleet was only 45 when she played the octogenarian Ella Garth, and she fully and wondrously inhabits the role. Though it would be easy to portray Ella Garth as a stereotypical cantankerous biddy, Jo Van Fleet goes several steps further, imbuing her with both a formidable toughness born of loss, labour, and hard knocks, and an exhausted sense of resignation and futility. 'Wild River' is also notable for marking the film debut of Bruce Dern in a bit part, and joining the ranks of the National Film Registry in 2002 for its compassionate treatment of a key period in American history.
Shot entirely on location, 'Wild River' captures the downtrodden atmosphere of Depression-era Tennessee and the hopelessness and fear that gripped its residents. Elia Kazan's flawless direction and the nuanced performances of the top-flight cast, many of whom were area natives, offset the leisurely pacing and allow small moments to resonate. Though it may not possess the pedigree of Elia Kazan's better-known classics, 'Wild River' has grown in stature over the years, and stands as one of the director's most personal and understated works. It deserved an audience back in 1960 and it deserves a modern audience today.
Blu-ray Video Quality – I learned that 'Wild River' had been restored by the American Film Foundation in 2010, I was unprepared for the degree of clarity, depth of colour, and pristine image quality that distinguish this impeccable transfer from 20th Century Fox. Without question, this neglected film has never looked better on home video, and its natural presentation honours the beautiful Tennessee locations that frame the drama. Faint grain lends the picture just the right amount of texture, grit, and warmth, depending on the requirements of the scene, and perfectly pitched, well-balanced contrast heightens the impact of both close-ups and sweeping vistas. I've never been much of a fan of "Color by DeLuxe," but the film's restorers have brought the palette of 'Wild River' back to brilliant life. Previous prints looked wan and faded, but the source material here bursts with newfound vibrancy. Hues exude a marvellous richness, yet maintain a vital natural quality that's essential to the story's success. Interiors still appear appropriately drab, but landscapes exhibit a lazy lushness that connects us to the setting and immerses us in the film's unique backwoods atmosphere. Silky blacks add weight to the picture, while flesh tones remain stable and true throughout. Close-ups are crystal clear, highlighting Montgomery Clift's hollow cheeks and bruised, sunken eyes, as well as Lee Remick's unadorned, fresh-faced loveliness. Shadow delineation is strong (though a couple of instances of crush creep in), background elements are easy to discern, and no print marks of any kind sully the spotless image. Best of all, no banding, noise, pixilation, or edge enhancement could be detected. You haven't really seen 'Wild River' until you see it as this stunning Blu-ray release.
Blu-ray Audio Quality – The 1.0 DTS-HD Master Audio Mono track pumps out good quality sound full of richness and nuance. The solo horn that graces the solemn music score possesses a pleasing purity of tone, and the atmospherics of the rural Tennessee setting provide some subtle accents. 'Wild River' is a very sedate film, with only a few raucous moments, so the clean nature of the recording is a blessing. Thankfully, no hiss or age-related surface noise clutter the track or distract from the tender moments of personal interaction. Dialogue is always clear and easy to understand and a wide dynamic scale handles all the highs and lows with ease. Bass frequencies understandably err toward the weak end of the spectrum, but distortion is absent and the smoothness of the track mirrors the film's quiet elegance. Subtleties, such as gentle rain, are well rendered, and the shattering of a window is startlingly crisp. This track won't test the limits of your system, but it beautifully complements this lyrical film.
Blu-ray Special Features and Extras:
Audio Commentary: Commentary by Film Historian Richard Schickel: Film critic and historian Richard Schickel sits down for a thoughtful, often insightful commentary that heightens our appreciation for this little-known Elia Kazan film. Richard Schickel's high regard for 'Wild River' is evident throughout, as he talks about the film's artful construction, its personal connection to Elia Kazan's early life, the fine performances, colourful and complex characters, and its underrated status. He also compares 'Wild River' to another Elia Kazan classic, 'On the Waterfront,' addresses Elia Kazan's directorial style and troubles with the House Un-American Activities Committee, discusses the demons afflicting Montgomery Clift during shooting, praises the work of Lee Remick, and points out a host of authentic touches that add lustre to the film. This is a quiet track, but a perceptive one, and to those who recognize the beauty and grace of 'Wild River,' it's a fine companion piece.
Original Theatrical Trailer  [1080p] [3:00] The melodramatic and misleading original preview for 'Wild River' is included here, and the banged up trailer makes us appreciate the fine restoration all the more.
Finally, 'Wild River' may have been a box office disappointment upon its initial release, but this resonant, beautifully filmed tale of personal growth, tolerance, and the pros and cons of progress has grown in stature over the years and now stands as one of director Elia Kazan's most affecting and realistic works. Excellent performances from Montgomery Clift, Lee Remick, and Jo Van Fleet enhance this quietly powerful picture that captures a pivotal moment in time with grace and sensitivity. 20th Century Fox's gorgeous restoration breathes new life into 'Wild River' and makes it feel far more contemporary than other films from the same period. Solid audio complements the stunning video, but supplements are maddeningly thin. Though the appeal of this film may be limited, those with discriminating taste and an affinity for nuance and understatement should definitely give it a spin, as you will witness some brilliant acting and stunning images. To also add to the appeal of this very character driven film and sharp dialogue, Elia Kazan [one of my favourite directors] has crafted a real tour-de-force of magic proportion and it has been a massive favourite film of mine ever since I saw it broadcast on British Television and loved it ever since and anyone who wants to watch something of high calibre performances, then you would foolish to pass this Blu-ray by, as it is absolutely stunning and a great honour to add this classic film to my Blu-ray Collection. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom
Commentaires client les plus utiles sur Amazon.com
WILD RIVER is a subtle achievement in attractive, genuine Tennessee color.
After the documentary footage that opens the movie introduces the Tennessee Valley Authority (TVA) and the persistent flooding that invades this area we are quickly introduced to TVA every man, trying to do the right thing employee, played by Montgomery Clift (which is the reason why, way back when, I watched this for the first time...there really was something genuine about Clift's acting; that 'method' thing).
Anyways, this is a difficult movie to compliment because it does appear this one is far from most 'modern' tastes. If you don't even like On The Waterfront there is probably little chance you will like this one. If you do like On the Waterfront and East of Eden (that was in color) there is a very good chance you will like this.
And for critiquing purposes Lee Remick performs arguably the best female (woman) 'method' performance ever displayed on film. Not kidding in the least, and if you watch her "angst" scenes (there might be one too many) she was not just some pretty face who was trying to gain acting respects (see Marilyn M.). And check her sexually charged "You can't get enough of me scene" in the front seat of pickup truck with Clift. It's well done in a 1960 PG rating sort of way with here stroking - and looking down on - Clift's head as he kisses her neck in complete submission to her charms. She smiles impishly knowing she's gott'em - and in a good way - as the only other thing we see is the back of Clift's head. SHE is in complete control of the city man.
And did I mention those Lee Remick eyes? Enough to cause any (deserving) good man to melt.
But, WILD RIVER jumped into the top three of my favorite Kazan films. I mentioned the other 2 already. Yes, ahead of A Streetcar Named Desire. "Streetcar" loses points for the fairly obvious Tennessee Williams "stage play" adaptation.
WILD RIVER is all real, complete with location footage. And some of the "locals" (who's an actor, who might be an actual local? Kazan was always good at installing non actors for 'realism' effect) get a little wild and agitated before all is said and done so the movie is not entirely void of bullying turned into action-menace.
And Jo Van Fleet adds one of her legendary, dressed as old lady matriarch performances when she was (actually) 30 years younger or so.
WILD RIVER is a well done piece of old school, nuanced film-making on multiple fronts.
Director of photography Ellsworth Fredricks.
Music (nice horns compositions) composed and conducted by Kenyon Hopkins.
There is also some good history and movie commentary added by Richard Schickel (he does alot of these).
It is a story of the depression, the workings of a the TVA (Tennessee Valley Authority,) and is about rural, desperately poor characters. Obviously, it didn't make much noise when it appeared in theatres, originally, and has not been easy to see to see in a decent form, since then.
But, this is prime work by a number of major film artists. Director Elia Kazan had apparently wanted to do something with this concept for many years, but couldn't get financing for such an artsy, non-commercial idea. But after several successes in the '50's, it was finally green-lighted. Although it didn't make a dime, it remains one of his finest. Montgomery Clift, after his '56 car accident disfigurement, had a real problem finding decent parts in big films. Here he is, in a most unusual role, totally believable, completely vulnerable...a daring, very unconventional, hyper-sensitive kind of hero for a movie from any period. Lee Remick is perfect as an uneducated mountain widow, in probably the best performance of her career. And Jo Van Fleet, outdoes her Oscar winning role in EAST OF EDEN, as a stubborn old mountain woman in her eighties; a totally impressive feat when one considers she was forty-one when the film opened nationally.
So, this is a really important dvd release; it rights a number of wrongs that have befallen this project from the beginning. Richard Shickel's commentary is very impressive, too. As blu ray, there is little of any dazzling effect, but I'm sure it duplicated the way the original bland Fox Cinemascope, color by DeLuxe product looked. I would imagine that the normal version wouldn't look all that different, but i don't know.