DVD DETAILS:
Vision
The 16:9 enhanced transfer in 1.85:1 does not preserve the film’s original 2.35:1 aspect ratio which is only evident in the opening credits sequence. The title event is well rendered and Jameson’s style is formally engaging throughout, with nice shot juxtapositions and aerial work. Underwater scenes, however, are decidedly murky in this transfer and shadow detail is compromised accordingly. It is an ornate film in design, seeming decidedly formal amidst its extremes of the elements, with much difference in location work adding to the tension it is able to maintain. The underwater search and salvage scenes are fascinating but again transfer clarity is at its poorest in these scenes, adding to the frustration of an unsatisfactory DVD treatment. Underwater blackness seems like indistinct blue static and thus the teasing discovery by underwater torchlight of the sunken behemoth itself lacks the impact these scenes ideally should have had. Nevertheless, model work is always capable as the raising and final harbour scenes have a due sense of majesty to them. Daylight scenes fare much better and the scene of Jordan walking the Titanic’s decks is a definite highlight. The sense of awe and discovery are preserved although some of the plot mechanisms feel padded and forced. Scenes involving technology have an almost fetishistic quality despite some blatant brand-name product placement.
Sound
Sound is available in Dolby Digital mono only. Considering the film’s unusual spectacle and the cult reputation of John Barry’s score (never released on CD as it is in the film) such treatment is another disappointment. Details are centred but often seem to hover in and out of crispness and clarity levels as if the mono is about to break out into stereo at any time: some static results in backgrounds at these moments. The near-constant score works well and segues into vibrant background details which give a sense of travel beyond the listed mono. These small aural details (from crickets to motors to the final rush and croaky, rusted metal of the emerging ship) add atmosphere and presence to locations and events. There is some reflexive humour over the name of Jordan’s character (Dirk Pitt) and the vastness of sea level and undersea expanses are well established, as is the use of radio as a tool to bridge vast distances and conditions. The petty bickering between the characters builds to the moment where they can put this aside to save lives and raise the ship – finally almost just for the sake of it now rather than the political context which initially brought them there. The raising of the ship carries with it in scoring and diegesis the thrill Jameson sought. Nice use is also made of a Geiger counter’s ticking as a final reminder of what the Cold War meant to such human greatness as once was possible. read more
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