Dennis Burger’s 4K HDR Wish List
Over the next three days, we’re going to be publishing our wish lists of movies we’d put at the front of the queue for 4K HDR upgrades. As is obvious from our “4K HDR Essentials,” some older titles have fared really well when brought out digitally in a form that can match their original film releases. Others, for a variety of reasons, haven’t done so well. Our lists represent the ones we think will most benefit from the upgrade.
You’ll find that our choices are pretty eclectic and run the gamut from mega-blockbusters to the unjustly obscure. We encourage you to check out all our wish lists to get a good sense of what the UHD re-release market could have to offer over the next couple of years.
One of my favorite college courses was Econ 101, not because of the subject matter but because of the professor. He was notoriously tough and gave all-essay exams, but he had a peculiar practice with those exams. If students took issue with a question, he encouraged us to scratch it out and write a new question in its place, then answer it. If you managed to convince him that your question was better than his question, and assuming he was satisfied with your answer, he’d give you extra credit.
Mind you, we don’t get extra credit here at Cineluxe, but when Mike asked me for a list of movies I wanted to see in 4K HDR, I immediately flashed back to that Econ prof. If I sat down and thought about it, I could crank out a list of 100 movies that legitimately deserve the upgrade from HD. The question I want to answer instead is not “What?” but “Why?”
Why do I want all of these films released in 4K HDR? That’s the real question I’m attempting to answer here. As such, you could probably substitute any of the titles below for any number of others representative of their era, their style, or the format in which they were finished.
Apparently admitting this makes me something of a Brooklyn hipster chick, but so be it. Jean-Pierre Jeunet’s best film makes my heart happy. I’ve never been overly happy with its presentation on DVD or Blu-ray, though (and little birdies in Hollywood have told me that Jeunet isn’t a fan of the home video master, either). Amélie was finished in a 2K digital intermediate, so I wouldn’t expect much in the way of enhanced detail in a 4K HDR re-release (short of a complete restoration, which the film honestly doesn’t need). But watching Amélie in HD is like watching a bag of sentient Skittles trying to break out of prison and
pounding on the bars in frustration at their inability to truly live free. You can literally see where the colors are raging and straining against the limitations of older home video technology.
KILL BILL VOL. 1 & 2
When you get right down to it, the real benefit of 4K HDR isn’t the extra pixels or the extra colors. For me, it’s about removing distractions. And although the Blu-ray releases of this over-the-top Quentin Tarantino mashup/homage to schlocky grindhouse cinema and martial-arts flicks are pretty great overall, I still find their limitations glaring. Some of the darker scenes are graded a little too brightly to avoid the loss of all shadow detail, and although primary colors should dominate the palette, there are scenes in both films where there’s a bit too much of a push toward the primaries. I also wouldn’t mind the option to watch The Whole Bloody Affair, the 215-minute original edit of the film that existed before Harvey Weinstein forced Tarantino to either make cuts or split it into two pictures.
THREE DAYS OF THE CONDOR
I won’t pretend that this mid-1970s Robert Redford/Faye Dunaway/Max von Sydow vehicle is the best espionage thriller of all time. It’s a little preachy and neither as engaging as Tinker Tailor Soldier Spy (2011) nor as thematically coherent as its own spiritual successor, Captain America: The Winter Soldier (2014). But dammit, I still love
the film despite its flaws and have never been satisfied with any of its home video releases.
Every new Blu-ray that comes out sports a drastic shift in overall color balance. That says to me that 8-bit color simply isn’t sufficient to capture the palette of the original camera negative, and the digital wizards working on new masters are having to pick and choose how and where to limit the imagery. I want to see the colors as director Sydney Pollack and cinematographer Owen Roizman saw them, and I’m not saying HDR would guarantee that, but it would certainly make it possible. What’s more,
even the best HD transfers of the film are riddled with moiré artifacts that shine a bright light on just how much extra detail there is to be extracted from the existing elements.
I know the film has been restored in 4K. So it shouldn’t be that much effort to actually release it in 4K.
TO KILL A MOCKINGBIRD
Recent 4K HDR releases of black & white films like It’s a Wonderful Life
and Mr. Smith Goes to Washington have demonstrated how monochromatic cinematography can benefit as much from HDR as do the most colorful of films. I’m itching to see if that holds true for my favorite Gregory Peck film and one of my favorite book adaptations in the history of cinema. The Blu-ray release from a few years back was (and still is) fantastic looking, but I have to think there’s ample additional shadow detail to be eked out of the negative, especially in the nighttime scenes, like the one in which Scout, Jem, and Dill save Atticus from an angry mob.
Several years back, StudioCanal finished an extensive frame-by-frame remaster of Kurosawa’s loose adaptation of King Lear, with color grading overseen by cinematographer Shôji Ueda. And while this elusive release was a huge improvement over previous home video efforts, it was only made available in HD, despite the restoration being done in 4K.
There have been rumors and rumblings of a proper 4K release, perhaps in Australia, maybe in the US. Who knows? Apparently COVID-19 threw a monkey wrench in StudioCanal’s release plans. At any rate, I’m starving for this one. While I would love to see Kurosawa’s black & white classics properly remastered in 4K (if Criterion ever gets around to supporting modern video formats), this vibrant work is the film of his I think would benefit most from the enhanced resolution and especially the expanded color gamut of 4K HDR. Watching the Blu-ray release, you can tell there’s ten pounds of color here crammed into an eight-pound bag.
THE RED SHOES
I’ve had the wrong impression of Technicolor for my entire life, since I’ve never seen it projected and assumed that home video releases were at least reasonably representative of how the format was supposed to look. Due mostly to the popularity of The Wizard of Oz, we’ve all come to associate the three-strip color process with hyper-saturated colors that appear more painted than filmed. But as the 4K HDR restoration of Oz revealed (at least to me), there’s a ton of chromatic subtlety to be extracted from those old Technicolor films, and I’m itching to see classics like this given more room to breathe, without every color being cranked to 11. Unfortunately, as I hinted at above, Criterion has still yet to hop aboard the 4K train, and the film’s distribution rights are firmly in their hands. If they decide to get with the times anytime soon, I hope this is their first 4K release.
Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast who somehow also manages to find time for technological passions including high-end audio, home automation, and video gaming. He lives in the armpit of Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire Terrier who thinks he’s a Pomeranian.