DVD DETAILS:
Vision
The anamorphic widescreen transfer preserves the underlying documentary authenticity. Although one of Frankenheimer’s best films it is also one of his least self-consciously stylized. Yet, it has urgency (often in hand-held work) and a sense of menace, gradually building its tension. Naturalistic throughout, it depicts a frighteningly plausible terrorist threat. Telling moments in composition abound, such as the meeting between Israeli Shaw and an Egyptian diplomat (and implied supporter of the terrorism outlawed by their government) during which they face each other, the Washington monument in the background, between them – the notion of the US’ place within an external political conflict. With vivid chases and a chilling depiction of the bomb’s power (during which Dern displays his total disregard for humanity, shocking even Keller) the film maintains a docudrama realism despite its ironies. Sly use is made of the Goodyear Blimp, which slowly becomes a symbol of impending disaster and the final third of the film is a stunningly edited suspense sequence. Superbowl atmosphere is vivid and there is a nice sense of the absurdity of this American sporting-cultural celebration in light of the greater threat posed literally from above. The final inter-cutting of blimp and sporting action suggests terrorism and Americana coming to collision, a neat encapsulation of Frankenheimer’s interests in political thrillers and competition.
Sound
The sound transfer is an effective Dolby Digital 5.1 affair, transposing a slice of superior 1970s craftsmanship to the age of home theatre. At times, this sound design captures a valid realism which is then increasingly intensified with a solid score by John Williams to create the almost unbearable suspense of the final stages. It is full throughout and with fine directional effects, the 5.1 mix nicely opening up the sound space although the option of the original re-mastered mono sound is also available. Voices are always crisp, the determination in Shaw nicely contrasted to the neurotic self-absorption of Dern. Individual locations feel authentic (with Beirut setting the initial standard for detail), the aural design complementing the visual stress on realism, nicely grounding a perhaps fanciful plot (for its time). The sound mix is often understated and low key, the score essaying both the authenticity and artificiality of film aestheticization without ever compromising the narrative grip. Rare moments of silence are well used in the hospital scenes – the one moment in the film where Shaw feels doubt and despair. Nice use is made of a wind and echoing voices as Shaw surveys the empty Miami Orange Bowl and contemplates the damage possible. The absurd pomp and circumstance of NFL fever is well captured and the commotion of the football game is neatly inter-cut with the blimp / helicopter battle in the skies above. read more
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