Forrest Gump

Forrest Gump

It’s time for another anniversary re-release review here at Cineluxe. Forrest Gump recently received a 25th-anniversary 4K HDR makeover, and is available on 4K Blu-ray disc as well as for download from the Kaleidescape Store, which is how I enjoyed it.

 

I remember watching Forrest in the theater at the time of its original release back in 1994 (and several times afterwards on both VHS and LaserDisc) and being blown away by its innovative use of CGI to create Forrest’s (Tom Hanks) incredible life. Industrial Light and Magic used CGI in a way unlike any other film at that time—from the feather that floats and dances around at both the beginning and end of the film, to Forrest shaking hands with a number of former presidents at the White House or standing behind Governor Wallace on the steps of Alabama University, to removing Lieutenant Dan’s (Gary Sinise) legs so convincingly that I actually thought Sinise was legless.

 

Today, we take CGI imagery for granted, with filmmakers able to create entire worlds (à la Disney’s recent “live action” Lion King remake), but in 1994, Forrest Gump was an effects tour de force that didn’t feel like you were watching a movie driven by effects. This was a case of the technology being used to help tell the story and immerse you in Forrest’s life, instead of being the story.

 

At its heart, Forrest Gump is really a pretty simple film—a life recapped in a series of flashback memories by Hanks while he’s sitting on a bench waiting for a bus. But it is heart—propelled by Hanks’ genuine and spot-on portrayal of Gump and by Robert Zemeckis’ deft directing—that makes the film still hold up after all these years.

 

There are actors who so inhabit roles that it’s impossible to imagine anyone else playing them—Robert Downey Jr. as Iron Man, Jennifer Lawrence as Katniss Everdeen, Harrison Ford as Han Solo and Indiana Jones. And Hanks’ portrayal of Gump certainly deserves to be on that list. From the first time he says, “My name is Forrest, Forrest Gump,” Hanks is Forrest, and there is no separating the two.

 

Hanks never uses Gump’s being “different” and his 75 IQ (borderline impaired) for laughs or for pity. Instead, he portrays him as curious, honest, and pure, always looking for the best in those around him. Ultimately Gump is driven by the desire to please people, but especially his loving and protecting mama (Sally Field); his best good friend, Bubba (Mykelti Williamson); his best gal, Jenny (Robin Wright); and his Vietnam officer-in-charge cum First Mate, Lt. Dan.

 

Due to Hanks’ portrayal, we never feel sorry for Forrest or even think about his IQ after it’s initially mentioned, but rather we root for him as he lives a bigger-than-life life where he just happens to be in all the right places at all the right times and displays his ability to run like the wind blows.

 

For the film’s 25th anniversary, Paramount created a true 4K scan of the original 35mm print and gave the audio a Dolby Atmos makeover. If I had to summarize the image quality of the new 4K HDR transfer in a word, it would be “uneven.” The images are mostly clean and sharp, and there are scenes where they look tack sharp with tons of detail; but other scenes are almost out of focus and lack real definition.

 

As with many film-to-4K transfers, closeups often show the real improvements in image quality, revealing the texture in curtains, drapes, bed linens, clothing, and actors’ faces. In an early scene where Forrest is being fitted with his leg braces—to help his back “being as crooked as a politician”—the tiny dots inside the plaid pattern of his shirt are clearly resolved.

 

It’s longer shots or things in the background that often don’t have the same sharpness and detail. Leaves on trees, fields of grass, and stalks of corn tend to look softer and less defined. The opening shots of the sky reveal a fair bit of noise and grain, 

which isn’t uncommon, since that particular shade of blue tends to wreak havoc with film capture. Also, a couple of scenes have some brief aliasing in fine edges. The archival footage is also very soft and definitely shows its age, especially when contrasted with the sharpness of the rest of the film.

 

HDR is used sparingly throughout, not really pushing dynamic-range boundaries. There are scenes where whites are fairly brilliant, such as the shoelaces in Forrest’s Nikes or the T-shirts worn in the Army barracks. The napalm strike in Vietnam benefits from the additional dynamics. Blacks are also deep and noise-free. Colors are rich and vibrant, such as the bright Crimson red jacket worn by Alabama’s football coach, Bear Bryant. The greens in Vietnam are also lush, with clear distinctions between the different shades of green in the uniforms, helmets, camouflage, canteens, weaponry, etc.; and the golden-orange sunset on the bayou looks beautiful.

 

Gump is known for its fantastic soundtrack, featuring nearly 50 songs that capture the sound and feel of the period. Thus, I had high hopes for the Dolby Atmos mix, but it’s even more restrained than the film’s use of HDR. The height speakers are used very sparingly throughout, coming into play to add some atmosphere like rumbling thunder, bird chirps, or some reverb to add space to the Washington

Forrest Gump

speech scene. A helicopter flyover in Vietnam is also mixed nicely into the height speakers.

 

Most of the soundtrack is mixed across the front three speakers, which gives the music nice separation, and keeps dialogue clear and understandable. The big Vietnam firefight has some bullets that whiz into the surround speakers and the hurricane scene pushes wind and the groaning ship out to the surrounds, but the mix is sonically tame by today’s standards.

 

Forrest Gump is an undeniable classic, ranking No. 76 on the AFI’s Top 100 list, and receiving 13 Academy Award nominations and taking home six statues for Best Picture, Directing, Actor in a Leading Role, Writing, Film Editing, and Visual Effects. In 2011, it was selected by the Library of Congress for preservation in the National Film Registry as being “culturally, historically, or aesthetically significant.” While this isn’t a perfect transfer, it retains all the heart and feel, and belongs in any film collection.

 

And that’s all I have to say about that.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

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