DVD DETAILS:
Vision
The widescreen letterbox transfer captures a grim, foreboding atmosphere, full of overcast skies. There is a sense of desolation and ruin to the early locations, underlying the irony of the Church as a beacon of life surrounded by a world of the dead, the cemetery. It is a bleak and oppressive film yet still capable of finding the perverse beauty in Bates’ morbid obsession with beautifying the dead, capturing his necrophilic sense of deathly communion. Thus, the contrast between the Church (in a symbolic state of restoration) and the embalming room makes for a telling moral polarity. Funereal chambers dominate Bates’ world, with Rourke back and forth, almost in limbo, drawn to seek sanctuary in the Church and with the innocent girl (symbolically blind) the only character to accept him without question. The juxtaposition of locations functions extremely well in capturing Rourke’s sense of being in a damnable flux, hence the lingering scene of his staring into a cremation chamber into which he has placed a body. A stunning segue from Church to outdoor fairground adds to Hodges’ intense irony in this film. Shadows are subtle, and colors and textures are kept downcast and abrasive in this apt transfer. Excellent use is made of scaffolding in the Church and a powerful shot in which Rourke clings to a statue of Christ on the cross to prevent himself falling only to find his grip slowly eroding – a fine scene of religious desperation.
Sound
The sound is a delicate Dolby Digital stereo surround, capturing both the intimate nature of scenes and the brutal outbreaks of violence. Sadly, a mild hiss runs through most of the film and may need some adjustment to reduce the distraction. There is a nice echo when needed by location and incidental details are always crisp. It is mostly centered although there are fine directional effects adding to the contrast between exterior and interior worlds: the outside world is mordant and inhospitable, and the film conveys the sense of consolation found in the Church. The score initially makes good use of yearning strings and resonant woodwinds evocative of a kind Irish Morricone: a moving delight in this mix, it is surprisingly atmospheric throughout. Brooding classical music features well and the use of “Ave Maria” is most ironic and mournful. Silences are well used, but most impressive is the solace and affecting gentility between Rourke and Davis. Organ music is also used sparingly and effectively – indeed, all music underscores the theme of mournful, desperately spiritual yearning in this film. Increasing cold and wind is well served by the transfer and the film is full of threat and menace, with sadism and an awful indifference creeping into many of the voices of Bates’ associates. Indeed, there are undercurrents of both desperation and resignation running throughout this film’s use of the human voice. read more
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